George Morrison Exhibition @ The Met, NYC - "The Magical City: George Morrison’s New York"

The Magical City 

George Morrison’s New York

Metropolitan Museum of Art, New York

July 17, 2025 – May 31, 2026

GEORGE MORRISON

The Antagonist (detail), 1956 

Oil on canvas, 34 1/8 × 50 1/16 in. 

(86.7 × 127.2 cm)

Whitney Museum of American Art, New York; 

Gift of Mrs. Helen Meredith Norcross 57.26 

© Estate of George Morrison

The Metropolitan Museum of Art presents The Magical City: George Morrison’s New York. Born in Chippewa City, a remote Native American village on the shore of Lake Superior in northern Minnesota, George Morrison (Wah-wah-ta-ga-nah-gah-boo and Gwe-ki-ge-nah-gah-boo, Grand Portage Band of Lake Superior Chippewa, 1919–2000) overcame innumerable challenges—poverty, a life-threatening childhood illness, social isolation, racial and cultural barriers—to become a leader of the American Abstract Expressionist movement, which he collaboratively defined both publicly and behind the scenes.

“George Morrison’s life and work has inspired generations of artists,” said Max Hollein, The Met’s Marina Kellen French Director and CEO. “Anchored by works from his time in New York, this meaningful exhibition celebrates Morrison’s creative achievements and explores how his American Indigenous perspective shaped his unique cultural legacy.”

George Morrison’s influence on the American Abstract Expressionist movement began in September 1943, when he arrived in New York City by train to study at the Art Students League on a fine arts scholarship. Immersing himself in the city’s vibrant cultural scenes, Morrison studied painting and drawing, contributed to numerous exhibitions and publications, and openly challenged the mainstream art establishment of his generation. He also formed important connections with peer artists including Willem de Kooning, Franz Kline, Lois Dodd, and Louise Nevelson, among others. Morrison’s deep appreciation for urban life—specifically industrial landscapes, jazz, and literature—shaped his artistic practice and imagery and permanently impacted the trajectory of the New York School.

Technically trained in figure drawing, portraiture, landscape painting, and graphic arts, George Morrison shifted to abstract approaches in his New York years, specifically automatism, propelling his unique visual language—a fusion of his interest in the subconscious, Ojibwe aesthetic sensibilities, and ties to his homelands. The artist’s involvement with the rise of Abstract Expressionism enhanced the movement’s broader “American” context by imbuing it with a distinctive Indigenous perspective. Between 1943 and 1970, George Morrison lived and worked in New York and regularly exhibited in group shows and solo exhibitions. His work was consistently noted by well-known art critics. A 1953 Fulbright Scholarship to study at the Ecole des Beaux-Arts and the University of Aix-Marseilles in France—followed by a John Jay Whitney Fellowship the same year—earned him international recognition.

Morrison’s prolific career lasted until 2000, long after his return to Minnesota from New York. It culminated with his famous Horizon Series, a suite of small-scale oil and acrylic paintings that synthesized his technical skill and creative imagination with his love for his home on the Grand Portage Indian Reservation, along the north shore of Lake Superior.

Patricia Marroquin Norby (P’ urhépecha), Associate Curator of Native American Art in The Met’s American Wing, said: “This celebration of George Morrison’s work at The Met is long overdue. We are thrilled to honor the artist’s major contributions to the New York School with this exhibition and publication. Morrison strongly impacted the development of the American Abstract Expressionist movement as well as the work of his professional colleagues—artists who respected him as a leader and a voice for their generation. This exhibition offers an important opportunity to engage deeply with Morrison’s evolving practice, supported by rarely seen archival materials that reveal the depth and complexity of his artistic journey.”

The exhibition asserts Morrison’s significant contributions to the New York School and explores his urban aesthetic inspirations that were rooted in his love of New York, which he called a “Magical City.” Featuring 35 of his paintings and drawings, including a number of generous loans from the Minnesota Museum of American Art, the exhibition culminates in his Horizon Series. It also features rare archival material that places George Morrison at the heart of the Abstract Expressionist movement in New York in the 1940s and 1950s. The exhibition debuts two works recently acquired by The Met: White Painting (1965), the first oil painting by George Morrison to enter the Museum’s collection, in 2021, and Construction in Fantasy (1953), a gouache and ink drawing that the artist created in France on the Côte d’Azur, acquired by The Met in 2023.

The Magical City: George Morrison’s New York is curated by Patricia Marroquin Norby (P’ urhépecha), Associate Curator of Native American Art in The Met’s American Wing.

The exhibition is accompanied by the summer 2025 issue of The Metropolitan Museum of Art Bulletin, with contributions by historian Dr. Brenda Child (Red Lake Ojibwe), artist Hazel Belvo, and art historian Dr. Laura Joseph (Director of Cultural Affairs, Georgia O’Keeffe Museum).

METROPOLITAN MUSEUM OF ART

The Met Fifth Avenue, Gallery 746 North, 

The Erving and Joyce Wolf Gallery, The American Wing

1000 Fifth Avenue, New York, NY 10028

metmuseum.org

Nathalie Du Pasquier Exhibition @ Nivola Museum, Orani, Italy

Nathalie Du Pasquier

Volare Guardare Costruire

Museo Nivola, Orani

May 17 – September 14, 2025

Portrait of Nathalie Du Pasquier

Photo by Ilvio Gallo

Museo Nivola presents Volare Guardare Costruire (to fly, to look, to build), a site-specific project by Nathalie Du Pasquier, a French artist and designer based in Milan.

Conceived especially for the museum’s spaces, the exhibition takes the form of a retrospective dedicated to the artist’s painting production from her beginnings to the present day. At the same time, it is an environmental installation that merges painting, architecture, and design. The exhibition unfolds through a series of structures designed by the artist, transforming the museum into a space to walk through, explore, and inhabit.

The exhibition thus initiates a dialogue between the artist’s ephemeral architectures and the historical structure of the building – the former washhouse of Orani, now the beating heart of Museo Nivola.

Inside these “rooms” and on the walls of the museum are works created from the 1980s to today, which tell the story of the evolution of Du Pasquier’s visual language: a lexicon made of figuration and abstraction, in which human figures and the narrative dimension gradually give way to the theme of still lifes, made of simple and everyday objects, which delicately evoke the human presence, and then again to geometric shapes and abstract constructions. The whole is bathed in a midday light that gives the paintings a metaphysical air, almost as if we were in front of modern versions of Morandi’s canvases or, in other ways, of the purist ones of Le Corbusier and Ozenfant.

The title, Volare Guardare Costruire, refers to three phases of Nathalie Du Pasquier’s pictorial production. Volare (to fly) evokes the moment of detachment from the design of design objects towards the freer practice of painting. And it is perhaps no coincidence that many of the works of this phase present scenes seen from above, with a bird’s eye view, a symbol of the power of the imagination, of its ability to soar high and expand freely.

Guardare (to look) refers to a second phase, to the need to abandon purely imaginative scenes to dedicate oneself to a quiet and precise observation of reality, even of the most everyday and apparently insignificant objects, which instead reveal to an interested gaze, extraordinary forms, precious details and the ability to understand within oneself the complexity of existence. They are visions that the artist defines as “very silent and very still”, which invite one to rediscover the pleasure of the sensitive world through silent and attentive observation.

Dissatisfied, at times, with the sensible appearance of reality, Nathalie Du Pasquier finally dedicates herself to Costruire (to build), creating original structures, small three-dimensional abstract constructions that are then portrayed with the brush, brought back to the two-dimensional plane of her canvases. Thus, she triggers a complex dynamic between reality and representation, which is a wonderful metaphor for painting.

With this exhibition, the Nivola Museum confirms its commitment to promoting the dialogue between art, design and architecture, offering an immersion in the visionary world of an artist who continues to reinvent the rules of seeing and building.

Nathalie Du Pasquier (Bordeaux, 1957) moved to Milan in 1979. Co-founder of the Memphis collective, since the mid-1980s she has devoted herself mainly to painting, developing an unmistakable visual universe where formal research combines with a profound reflection on space and perception. Her works have been exhibited at Villa Noailles Hyères (Toulon, France), Kunsthal Aarhus (Aarhus, Denmark), GFZT Museum of Contemporary Art (Leipzig, Germany), Camden Arts Center (London), Kunsthalle Wien (Vienna) and MACRO in Rome.

Curated by Giuliana Altea, Antonella Camarda, Luca Cheri

NIVOLA MUSEUM

MUSEO NIVOLA

Via Gonare 2 08026 Orani

museonivola.it

Toshiko Takaezu: Bronzes @ James Cohan, NYC

Toshiko Takaezu: Bronzes

James Cohan, New York

May 16 - July 25, 2025

Toshiko Takaezu

Three Graces, ca. 2000s

Cast bronze, left: 78 x 22 in.,

middle: 74 x 21 in., right: 76 x 23 in.

Courtesy the Estate of Toshiko Takaezu

and James Cohan

James Cohan presents an exhibition of monumental sculptures by the late artist Toshiko Takaezu (b. 1922, Pepeekeo, Hawaii - d. 2011, Honolulu, Hawaii) on view at the gallery’s 48 Walker Street location. Toshiko Takaezu was celebrated for her experimental approach to abstraction and form over a lengthy career, which spanned the 1950s into the 2000s. While she is widely known for her painterly ceramics, Takaezu spent three decades mastering the possibilities of bronze. Toshiko Takaezu: Bronzes foregrounds her series of outdoor sculptures in the medium. 

Toshiko Takaezu’s initial foray into bronze was tied to her strong interest in the natural world. Starting in the 1980s, she worked closely with a team of artists and apprentices at the Johnson Atelier in New Jersey to render her creations using the lost-wax casting process. Takaezu’s soaring Stack Forms, ca. 1982-4, were directly inspired by her series of ceramic River Stones: convex circular forms glazed in tones akin to a riverbed of pebbles, such as earthy ochres and soft whites. In the main gallery, tall tree trunks in rich blue and green patinas are cradled by white pebbles and flanked by otherworldly globes. Tree-Man Forest, 1989, is a reverential meditation on both the precarity and resilience of natural life. Takaezu was deeply moved by a trip she took in 1973 to “Devastation Trail” on the Big Island of Hawaii, where she encountered a forest laid bare by the volcanic eruption of Kīlauea Iki in 1959. Toshiko Takaezu paid homage to this transformational event first in clay, and then in bronze, giving permanence to these majestic forms and embedding them into the land. 

The epic Three Graces, ca. 2000s, emits a powerful anthropomorphic presence; one that visitors can engage with as they circumnavigate each form. Takaezu’s first iteration of Three Graces was cast in 1994 and is installed at Grounds For Sculpture in New Jersey. These sculptures echo Takaezu’s classical tall ‘closed forms’ and showcase the artist’s mastery of gesture, visible in her application of dripping chemical patinas in deep blues, blacks and greens. In Greek mythology, the Three Graces were the daughters of Zeus–goddesses of beauty, charm and grace, often depicted together, interlaced in mid-dance The martyred saints Faith, Hope, and Charity, represent three similar theological virtues in Christian theology. These overlapping concepts are embodied in these monumental and undulating bronzes, forever linked as a trio. 

The singular resonant Untitled (Bell), 2004, perfectly concretizes Takaezu’s interest in sound and materiality. It is one of several forms that were inspired by the ceremonial bells of Japanese temples, and is similarly reliant on the strike of a mallet to produce a deep vibrational ring. This imposing bronze bell hangs from a custom interlocking wooden frame designed by the artist. Its dimensional surface resulted from Takaezu pouring hot wax in linear motions over the domed mold prior to its casting; an action that harkens back to her dynamic glazing process. 

Toshiko Takaezu’s achievements in bronze are a testament to her boundless exploration across mediums. Takaezu’s sculptures are monuments that reflect the natural world; fusing gesture and form through material permanence. Toshiko Takaezu: Bronzes unites carefully considered groupings which serve as sites for contemplation that engage the senses.

Born in Pepeekeo, Hawaii in 1922 to Japanese immigrant parents, Toshiko Takaezu first studied at the University of Hawaii, and later at Cranbrook Academy of Art. Toshiko Takaezu was a devoted maker and art educator, having taught at the Cleveland Institute of Art and Princeton University, until her retirement in 1992. She lived and worked in rural New Jersey through the 2000s. Toshiko Takaezu passed away in Honolulu on March 9, 2011. Throughout the artist’s lifetime, her work was exhibited widely in the United States and Japan, including a solo exhibition at the Philadelphia Museum of Art (2004) and a retrospective at the National Museum of Modern Art in Kyoto, Japan (1995). Toshiko Takaezu was the recipient of the Tiffany Foundation Grant (1964) and the National Endowment for the Arts Fellowship (1980), among others. Her work is represented in many notable collections including the DeYoung/Fine Arts Museum of San Francisco, Honolulu Museum of Art, The Metropolitan Museum of Art, New York, Museum of Fine Arts, Boston, and the Smithsonian American Art Museum. Recent exhibitions include the 2022 edition of the Venice Biennale, The Milk of Dreams curated by Cecilia Alemani and presentations at the MFA Boston (2023) and Crystal Bridges Museum of American Art (2024). In March 2024, The Isamu Noguchi Foundation and Garden Museum hosted Toshiko Takaezu: Worlds Within, the first touring retrospective in twenty years. It has traveled to the Cranbrook Art Museum and the Museum of Fine Arts, Houston and will open at the Chazen Museum of Art, University of Wisconsin-Madison (September 8–December 23, 2025) and the Honolulu Museum of Art (February 13–July 26, 2026)

JAMES COHAN

48 Walker Street, New York, NY 10013

www.jamescohan.com

Exposition Niki de Saint Phalle, Jean Tinguely, Pontus Hulten @ Grand Palais X Centre Pompidou, Paris

Niki de Saint Phalle, Jean Tinguely, Pontus Hulten

Grand Palais X Centre Pompidou, Paris

20 juin 2025 – 4 janvier 2026 

Niki de Saint Phalle (1930−2002) et Jean Tinguely (1925−1991) marquent les premières décennies du Centre Pompidou avec des réalisations spectaculaires, telles Le Crocrodrome de Zig & Puce (1977) dans le forum du bâtiment ou la Fontaine Stravinsky (1983) au pied de l’Ircam. Cette exposition – qui inaugure la collaboration entre le Centre Pompidou et le GrandPalaisRmn pendant la fermeture pour rénovation du site « Beaubourg » – met en lumière des moments clés de la carrière de ce couple mythique, uni par des liens artistiques indéfectibles et une vision de l’art comme acte de rébellion contre les normes établies.

C’est par le prisme de Pontus Hulten (1924−2006), premier directeur du Musée national d’art moderne au Centre Pompidou de 1977 à 1981, que l’exposition revient sur les créations de Niki de Saint Phalle et Jean Tinguely. Grâce à l’impulsion donnée par cette personnalité très tôt remarquée dans le monde des musées, les deux artistes bénéficient d’une importante visibilité. Pontus Hulten, animé par l’idée rimbaldienne de « changer la vie » et porté par une approche muséale radicale et novatrice, offre un soutien inconditionnel au couple d’artistes. Il partage leurs conceptions anarchistes au service d’un art pour tous, pluridisciplinaire et participatif, qui bouscule les conventions et déplace les lignes

Pontus Hulten favorise l’acquisition par les institutions d’œuvres majeures de Niki de Saint Phalle et Jean Tinguely, et organise au Centre Pompidou des rétrospectives des deux artistes, celle de Niki de Saint Phalle en 1980 et de Jean Tinguely en 1988. Il orchestre également la réalisation de leurs projets d’installations hors normes, tant au Moderna Museet de Stockholm, la première institution qu’il dirige, avec la gigantesque Nana pénétrable Hon – en katedral en 1966, qu’à Paris au Centre Pompidou avec Le Crocrodrome de Zig & Puce et ses éléments de fête foraine, en 1977. C’est aussi grâce à Pontus Hulten que Niki de Saint Phalle parachève la réalisation d’une vie de Jean Tinguely après son décès, Le Cyclop, monstre de métal visitable ponctué d’œuvres d’amis artistes et caché au cœur des bois de Milly-la Forêt, près de Paris.

L’exposition « Niki de Saint Phalle, Jean Tinguely, Pontus Hulten » propose un parcours à la fois historique et ludique, où s’entrelacent art, amour, amitié et engagement, tout en soulignant la part d’utopie et de provocation artistique partagée par les trois protagonistes.

La richesse de la collection du Centre Pompidou, associée à des prêts majeurs d’institutions nationales et internationales, permet de découvrir ou redécouvrir des œuvres emblématiques des deux artistes. Les machines animées, plus ou moins autodestructrices et «inutiles», de Tinguely, sont une critique acerbe de la mécanisation et du progrès technologique de la société industrielle des Trente Glorieuses. Les Tirs de Niki de Saint Phalle, reliefs blancs renfermant des poches de couleurs sur lesquels elle tire pour «faire saigner la peinture », renversent tant les codes de l’art que de la société, en mettant en évidence le pouvoir féminin. Ses célèbres Nanas colorées et joyeuses s’inscrivent dans la continuité de cette approche iconoclaste. L’exposition présente également des films d’archives rares et toute une correspondance de lettres-dessins autour des œuvres et des projets titanesques de Niki Saint Phalle et Jean Tinguely, menés en complicité avec Pontus Hulten.

Au-delà de la célébration de deux artistes majeurs du 20e siècle, portés par la vision d’un homme de musée d’exception, cette exposition interroge leur horizon de pensée selon lequel la revendication d’une autonomie de l’art, la remise en question de l’institution et l’adresse directe au public, deviennent des moteurs de la création.

2025 marque le centenaire de la naissance de Jean Tinguely

Commissariat : Sophie Duplaix, conservatrice en chef, service des collections contemporaines, Musée national d’art moderne – Centre Pompidou

Commissaire associée : Rita Cusimano, chargée de recherches, attachée de conservation, Musée national d’art moderne – Centre Pompidou

Un catalogue est publié à l'occasion de cette exposition.

Niki de Saint Phalle, Jean Tinguely, Pontus Hulten

Sous la direction de Sophie Duplaix

21 × 30 cm, 336 pages, 45€

Coédition Centre Pompidou / GrandPalaisRmn

Photo de couverture Niki de Saint Phalle

Photo repeinte de « Hon », 1979

Niki Charitable Art Foundation, Santee, Californie 

© 2025 Niki Charitable Art Foundation / Adagp, Paris

Exposition coproduite par le Centre Pompidou et le GrandPalaisRmn avec la participation de la Niki Charitable Art Foundation

GRAND PALAIS, PARIS

Galeries 3 et 4

www.grandpalais.fr

CENTRE POMPIDOU, PARIS

www.centrepompidou.fr

Charles Sandison @ Galerie Forsblom, Helsinki - New installation "Tabula Rasa" Exhibition

Charles Sandison: Tabula Rasa

Galerie Forsblom, Helsinki

June 6 – July 12, 2025

Charles Sandison’s new installation Tabula Rasa depicts words spilling out of open, empty books and moving towards each other in a continuous stream. The title refers to philosopher John Locke’s theory that humans begin life as a ‘blank slate’ onto which experiences and meanings are gradually imprinted. In Sandison’s Tabula Rasa, the blank slate is an ideological battlefield pitting words against each other as they compete to fill the empty pages.

The installation juxtaposes diametric opposites such as good and evil, love and hate. The word streams are controlled by a simple set of algorithms and driven by chance. The outcome of the ideological battle is unpredictable. The words begin to migrate more vigorously as their numbers dwindle, and it can take days for one word to take over all the books. When the process finally reaches its conclusion, the system resets and begins all over again.

Charles Sandison’s artistic practice addresses the themes of memory, linguistic structures and history, exploring cultural heritage and possible futures using contemporary digital technology. Employing generative code as his medium, his content comprises the entirety of our common cultural heritage and the ideological, artistic and philosophical ideas that have shaped contemporary society. The installation raises questions about power, freedom, the nature of knowledge and the process through which meaning is constructed – or deconstructed. Tabula Rasa is at once a visual spectacle, a philosophical commentary and a social allegory.

Scottish-born Charles Sandison (b. 1969) graduated from the Glasgow School of Art in 1993. During a career now spanning over three decades, he has exhibited his work in public spaces around the world. Sandison’s work is held in numerous Finnish and international collections, including Helsinki’s Museum of Contemporary Art Kiasma, Museo Reina Sofía in Madrid, and art museums in Denver, Montreal, Rome and Bonn. The artist lives and works in Tampere, Finland.

GALERIE FORSBLOM

Yrjönkatu 22, 00120 Helsinki

www.galerieforsblom.com

European Ceramics @ Metropolitan Museum of Art, New York - "Making It Modern: European Ceramics from the Martin Eidelberg Collection" Exhibition

Making It Modern

European Ceramics from the Martin Eidelberg Collection

Metropolitan Museum of Art, New York

June 16, 2025 - January 4, 2026

Making It Modern: European Ceramics from the Martin Eidelberg Collection at The Metropolitan Museum of Art highlights more than 60 ceramic works dating from the 1880s to 1910s that showcase the aesthetic, conceptual, and technical experimentation of ceramic artists in Europe. Working in Austria, Belgium, France, Germany, the Netherlands, and Scandinavia, these artists sought to break from the past by developing new, distinctive modes of making. With a renewed interest in the natural world as a source of artistic inspiration, they experimented with decoration, forms, and ideas to make their art modern. The exhibition features a selection drawn from a gift of approximately 80 ceramics given to The Met by scholar Martin Eidelberg in the years 2022–24.

“This exhibition brings into focus a pivotal moment at the turn of the century when ceramics were central to the exploration of modernism across Europe and across the fine and decorative arts,” said Max Hollein, Marina Kellen French Director and Chief Executive Officer of The Met. “The incredible originality and creativity of these works offer clear evidence of the dramatic changes in ceramic design and production during this period. Thanks to the generosity of Martin Eidelberg, an extraordinary collector and prolific scholar, we can better appreciate these truly outstanding objects within their larger historical context.”

The years in which the Eidelberg ceramics were produced coincided with the emergence of the popular Art Nouveau movement in which artists brought abstracted forms from nature into their work. Few of these pieces, however, align closely with the common conception of that style. Instead, these ceramics reflect the desire for individual artistic expression and the enormous creativity that make this period such a rich chapter in European ceramic history.

Another formative influence on this new style’s development came from the interest in Asian ceramics, particularly Japanese stoneware. While European fascination in the arts of Asia was long-standing, this interest had a new focus: the artisanal experimentation emphasizing the sculptural form of the vessel and the abstract application of glazes. This aesthetic of imperfection was revelatory to European audiences.

Among the exhibition’s key objects are an extraordinary large circular plaque produced at the Rozenburg factory in the Netherlands with a painted decoration that has no historical precedents; a gourd-shaped vase by the ceramic artist Pierre-Adrien Dalpayrat that reflects the new focus on nonfunctional, organically inspired shapes with abstract glazes largely determined by the firing process; and an openwork vase seemingly formed of overlapping nasturtium leaves and stems produced by the celebrated Danish factory of Bing & Grondahl. All of these objects are a manifestation of the desire of artist-potters and ceramic factories at the end of the 19th century to create new modes of expression that allowed them to explore highly original forms and methods of decoration.

Sarah E. Lawrence, Iris and B. Gerald Cantor Curator in Charge of The Met’s Department of European Sculpture and Decorative Arts, said, “This exhibition captures a remarkable moment in the history of ceramics that centers the decorative arts in the formation of early modernism. European ceramic artists intentionally sought distinctive modes of making their art modern, though innovations of form and experimentations in material, shape, technique, and glazes.”

Guest curator Jeffrey Munger added, “The aim of this exhibition is to highlight the creativity of ceramic artists in Europe at the end of the 19th century. A common goal was to produce new forms and types of decoration that reflected the dawn of a new century, and the variety of means that were explored in this pursuit demonstrate the remarkable inventiveness and innovative spirit of artist-potters at this time.”

Making It Modern: European Ceramics from the Martin Eidelberg Collection is curated by Sarah E. Lawrence, Iris and B. Gerald Cantor Curator in Charge of The Met’s Department of European Sculpture and Decorative Arts, and guest curator Jeffrey Munger.

The exhibition is accompanied by an issue of The Metropolitan Museum of Art Bulletin.

THE METROPOLITAN MUSEUM OF ART

www.metmuseum.org

Exposition Wolfgang Tillmans @ Centre Pompidou, Paris - "Rien ne nous y préparait – Tout nous y préparait"

Wolfgang Tillmans 

Rien ne nous y préparait – Tout nous y préparait

Centre Pompidou, Paris 

13 juin - 22 septembre 2025

Wolfgang Tillmans à la Bpi, janvier 2025

© Centre Pompidou

WOLFGANG TILLMANS

Moon in Earthlight, 2015

Courtesy Galerie Buchholz,, Galerie Chantal Crousel, Paris, 

Maureen Paley, London, David Zwirner, New York

WOLFGANG TILLMANS

it's only love give it away, 2005

Courtesy Galerie Buchholz,, Galerie Chantal Crousel, Paris, 

Maureen Paley, London, David Zwirner, New York

WOLFGANG TILLMANS

paper drop (star), 2006

Courtesy Galerie Buchholz,, Galerie Chantal Crousel, Paris, 

Maureen Paley, London, David Zwirner, New York

Le Centre Pompidou donne carte blanche à l’artiste allemand Wolfgang Tillmans qui imagine un projet inédit pour clôturer la programmation du bâtiment parisien. Il investit les 6000 m2 du niveau 2 de la Bibliothèque publique d’information (Bpi) et y opère une transformation de l'espace autour d’une expérimentation curatoriale qui met en dialogue son œuvre avec l’espace de la bibliothèque, le questionnant à la fois comme architecture et comme lieu de transmission du savoir.

L’exposition explore près de 40 ans de pratiques artistiques à travers divers genres photographiques, une rétrospective dont l’ordre et la logique se réalisent en réagissant à l’espace de la bibliothèque. Son œuvre s’y décline en des formes très variées et joue sur la verticalité des murs et l’horizontalité des tables, défiant ainsi toute tentative de catégorisation. Outre son travail photographique, Wolfgang Tillmans intègre dans cette vaste installation des œuvres vidéo, musique, son et textes, dans une scénographie qui joue avec les dispositifs d’une bibliothèque pour y découvrir enfin des analogies entre son travail d’artiste et ce lieu des savoirs. Plus que jamais l’artiste fera preuve de son don d’intervenir dans l’espace – une qualité qui distingue ces expositions depuis 1993.

WOLFGANG TILLMANS

Empire (US/Mexico border), 2005

Courtesy Galerie Buchholz,, Galerie Chantal Crousel, Paris, 

Maureen Paley, London, David Zwirner, New York

WOLFGANG TILLMANS

My 25 Year Old Cactus, 2023

Courtesy Galerie Buchholz,, Galerie Chantal Crousel, Paris, 

Maureen Paley, London, David Zwirner, New York

WOLFGANG TILLMANS

Intermodal Container In Mongolian Landscape, a, 2023

Courtesy Galerie Buchholz,, Galerie Chantal Crousel, Paris, 

Maureen Paley, London, David Zwirner, New York

WOLFGANG TILLMANS

Silver 258, 2017

Courtesy Galerie Buchholz,, Galerie Chantal Crousel, Paris, 

Maureen Paley, London, David Zwirner, New York

Au cours de sa carrière artistique, Wolfgang Tillmans (né en 1968 à Remscheid, en Allemagne) a repoussé les frontières du visible, captant et révélant la beauté fragile du monde physique. Proposant de nouvelles façons de faire des images, il explore la profonde transformation des médiums et supports d’information de notre époque. Il a ainsi façonné un univers esthétique distinctif, né de l’esprit de la contre-culture du début des années 1990. Une œuvre multiple, par laquelle il s’est engagé dans la quête d’un nouvel humanisme et de voies alternatives du vivre ensemble, influençant durablement la création contemporaine. Son travail est profondément ancré dans l’« Ici et Maintenant » : il dresse un panorama des formes de savoir et propose une expérience sincère et libre du monde, scrutant la condition contemporaine de l’Europe tout en explorant les techniques de reproduction mécanique.

En rapprochant les archives de l’artiste de ses œuvres les plus récentes, l’exposition du Centre Pompidou met en exergue les dialectiques qui traversent le monde depuis 1989 : les avancées sociales et les libertés autrefois établies, aujourd’hui en péril, les nouvelles manières de faire communauté ou encore les évolutions des expressions de la culture populaire et modes de diffusion de l’information. Wolfgang Tillmans conçoit cette exposition comme un ensemble et crée des œuvres spécifiquement pour le lieu.

L’un des aspects les plus originaux du travail de Wolfgang Tillmans est son regard égalitaire sur le monde. Alors que l’histoire de l’art repose souvent sur une hiérarchie des genres (le portrait noble, la nature morte modeste, la grandeur du paysage, etc.), Tillmans renverse cette logique. Dans ses expositions, des portraits d’amis ou d’amants côtoient des natures mortes banales, des photos de manifestations politiques ou encore des vues abstraites de plis de tissus, de corps ou de ciel.

Ce geste est profondément démocratique : chaque sujet, aussi ordinaire ou marginal soit-il, mérite d’être montré. Il adopte souvent un style documentaire, mais sans jamais céder à la tentation du sensationnalisme ou du voyeurisme. Il s'agit d'une photographie qui regarde avec respect, qui observe avec attention, sans juger. Cette approche sensible produit une éthique de l’image fondée sur la proximité plutôt que sur la domination.

Ce qui distingue également  Wolfgang Tillmans, c’est sa manière de questionner le médium photographique lui-même. Il ne se contente pas de produire des images : il interroge ce que signifie faire une image, ce que c’est qu’une photographie. Il explore les possibilités techniques et matérielles du médium. Dans sa série Freischwimmer, par exemple, il crée des œuvres sans appareil photo : il expose directement du papier photo à des sources lumineuses en chambre noire. Le résultat : des formes organiques, flottantes, abstraites, qui évoquent des corps ou des fluides, sans jamais les représenter.

Il assume également les erreurs techniques : poussières, traces, flous, surexpositions deviennent des éléments esthétiques à part entière. Il refuse ainsi l’illusion d’une image parfaite, contrôlée, lisse. Chez Tillmans, la photographie n’est pas une fenêtre transparente sur le monde, mais une surface haptique, matérielle, expressive.

Chez Wolfgang Tillmans, l’image ne se limite jamais à elle-même : elle s’inscrit toujours dans une composition spatiale, dans une mise en relation. Ses expositions ne suivent ni une logique thématique, ni chronologique. Il joue avec les formats, les échelles, les supports. Certains tirages sont accrochés à même le mur avec de simples bandes adhésives, d’autres sont encadrés, parfois surdimensionnés.

Cette diversité crée une polyphonie visuelle, une narration ouverte, fragmentaire. Le spectateur ne suit pas un parcours imposé, il doit tisser lui-même des connexions entre les images, inventer son propre chemin. En ce sens, la mise en exposition fait partie intégrante de son œuvre : elle devient un acte de création à part entière, et non un simple dispositif de présentation. Par ce geste, Wolfgang Tillmans remet en question les conventions muséales et propose une nouvelle manière de faire l’expérience de la photographie dans l’espace.

Bien qu’il ne se revendique pas comme un artiste politique au sens classique du terme, l’œuvre de Wolfgang Tillmans est profondément engagée. Son engagement passe par les sujets qu’il aborde : la communauté LGBTQ+, la sexualité, l’épidémie du sida, la jeunesse, les migrations, l’Europe, le climat. Mais il ne traite jamais ces sujets sur un mode spectaculaire ou militant. Il les évoque avec délicatesse, à travers des gestes simples, des regards, des fragments de vie.

Son activisme devient plus explicite lors du référendum sur le Brexit : en 2016, il lance sa propre campagne visuelle (“Say you’re in if you’re in”), mêlant graphisme et photographie pour défendre le maintien du Royaume-Uni dans l’Union européenne. Dans les années suivantes, il continue à mêler images et textes dans des installations qui prennent position sans dogmatisme, avec un souci constant de nuance et de proximité humaine. Ainsi, Wolfgang Tillmans pense le politique comme une affaire de sensibilité, comme un art de la relation, de l’écoute, de la présence au monde.

Ces dernières années, Wolfgang Tillmans a fait l’objet de rétrospectives majeures dans de grandes institutions, notamment à la Tate Modern de Londres en 2017 et au MoMA de New York en 2022. Il a également présenté une importante exposition itinérante sur le continent africain intitulée « Fragile » (2018 − 2022 à Kinshasa, Nairobi, Johannesburg, Addis Ababa, Yaoundé, Accra, Abidjan, Lagos). L’exposition au Centre Pompidou est la première monographie institutionnelle à Paris depuis son ambitieuse installation au Palais de Tokyo en 2002. Elle est accompagnée d’un catalogue et de la publication d’une version augmentée et traduite en français du Tillmans’Reader, regroupant divers textes et entretiens de l’artiste.

Commissariat de l'exposition : Florian Ebner, conservateur en chef, cabinet de la photographie, Musée national d’art moderne − Centre Pompidou

Commissaires associés

Olga Frydryszak-Rétat, Matthias Pfaller, attaché(e)s de conservation au cabinet de la photographie, Musée national d’art moderne − Centre Pompidou

ACCÈS LIBRE PAR CELINE

Partenaire Principal de l’exposition, la maison CELINE s’associe au Centre Pompidou, pour la première fois, au travers des journées « ACCÈS LIBRE par CELINE » : plusieurs journées d’accès gratuit imaginées comme une invitation ouverte à tous les publics. Ce projet a été pensé comme une initiative unique de partenariat qui offre à chacun l’occasion de découvrir l’univers de Wolfgang Tillmans tout en profitant, avant sa fermeture, du Centre Pompidou et de ses espaces.

CENTRE POMPIDOU, BEAUBOURG, PARIS

Niveau 2

www.centrepompidou.fr

Artist Matthew Bainbridge @ Stellarhighway, Brooklyn, NY - "A Scene on the Lid of a Sleeper’s Eye" Exhibition

Matthew Bainbridge

A Scene on the Lid of a Sleeper’s Eye

Stellarhighway, Brooklyn, NY

June 14 - August 3, 2025

MATTHEW BAINBRIDGE 

Sky Dragoon, 2024 

Colored pencil on paper, 10 x 7 inches

© Matthew Bainbridge, Courtesy of Stellarhighway

MATTHEW BAINBRIDGE 

Everlasting Love, 2024

Colored pencil on paper, 12 x 16 inches

© Matthew Bainbridge, Courtesy of Stellarhighway

MATTHEW BAINBRIDGE 

Moon Bloom, 2025

Colored pencil on paper, 10 x 7 inches

© Matthew Bainbridge, Courtesy of Stellarhighway

Stellarhighway presents A Scene on the Lid of a Sleeper’s Eye, MATTHEW BAINBRIDGE’s first presentation of work in New York. Centered on themes of longing and discovery, the ten small drawings in this presentation are displayed unmediated, as raw objects against the wall.

Bainbridge’s non-human characters, abstract fields, and garishly colored landscapes are highly dramatized, aiming to decenter the circumstances they explore. His surfaces themselves are heavy with direct metaphor, where the sheen of waxy colored pencil is casually disrupted by the paper texture or some gesture that calls to the artist’s hand. These tableau of manifested and embodied emotions—longing, despair, joy, terror—have the heightened sense of a stage set into which viewers have entered at the peak of the performance: a pot-bellied flower monarch intently engages a sci-fi orb at the edge of a high coastal prominence, its robes catching a soft breeze as multicolored blooms begin to gently wash around it; later we see this same sovereign having surmounted a whirlwind of flowers, a triumphant fist to its chest. In others the scene is simply set, playerless as though point-of-view: colossal vines infinitely entwine themselves into hearts across a wide landscape; a golden moon rises over a dark sea, shimmering electric green from the coastline; a dark path snakes imploringly through alien wood, begging feet. Works like Sky Dragoon and Pebble Golem are periods of gestation, pure elemental moments echoed in the celestial sky swirling through each drawing.

Otherworldly and sometimes sinister, Bainbridge’s work pokes at our sense of place and purpose, positioning deeply human states in outlandish circumstances supported by comical players. Through theater and fantasy, he grazes our linked mortality. The artist writes, “…collective longing is found within the drooping of a flower, and wistful boredom in the bending of a root; familiar, organic lifeforms, twisted into personhood…”

MATTHEW BAINBRIDGE (b. 1992, UK) graduated from Glasgow School of Art in 2014. Group exhibitions include those at Bellevue Arts Museum in Bellevue, WA; Sargent’s Daughters in New York, NY; L'Inconnue in Montreal, Canada; Patriothall in Edinburgh, Scotland; and The Old Hairdressers in Glasgow, Scotland. He has been a resident at i.o.u.a.e, and received awards from the Phoenix Bursary and the Hope Scott Trust. Matthew Bainbridge has been featured in Art Maze Magazine, Elephant Magazine and Here Magazine. The artist lives in Amsterdam, the Netherlands.

STELLARHIGHWAY

Brooklyn, NY 11233

www.stellarhighway.com

Michelangelo Imperfect @ National Gallery of Denmark, SMK, Copenhagen

Michelangelo Imperfect

National Gallery of Denmark, SMK, Copenhagen

Through 31 August, 2025

Facsimile after Michelangelo Buonarroti

Active Life (Leah). Original 1542–44,

facsimile 2024–25

The Royal Cast Collection, SMK – 

National Gallery of Denmark. Photo: SMK

Facsimile after Michelangelo Buonarroti 

Genius of Victory Original c. 1519-26, 

facsimile 2024-25

The Royal Cast Collection, SMK –

National Gallery of Denmark. Photo: SMK

Plaster cast after Michelangelo Buonarroti

Bacchus. Original c. 1496-97, cast c. 1874-79

The Royal Cast Collection, SMK – 

National Gallery of Denmark. Photo: SMK

He painted the ceiling of the Sistine Chapel, designed the dome of St. Peter’s Basilica in Rome, and his sculptures are known worldwide. SMK presents the most comprehensive display of Michelangelo Buonarroti’s sculptural work seen in 150 years.

If one were to point to a single artist who has contributed fundamentally to the modern perception of art as self-expression in Western culture, it would be the Italian artist Michelangelo Buonarroti (1475–1564). His iconic statue David shows us why.

Viewed from the left, the almost five-metre-tall figure is a classically idealised, alert young man ready for battle – but when seen from the other side he changes expression, revealing doubt and hesitation. Michelangelo insisted on reflecting the often conflicted and contradictory inner lives of his figures. He was not the first to do so, but he did it with such consistency that it changed the course of art.

A bronze David and thirty-nine other sculptures reproduced after Michelangelo can be seen at the National Gallery of Denmark (SMK) in Copenhagen in the exhibition Michelangelo Imperfect. Not since the celebration of the 400th anniversary of Michelangelo’s birth in Florence in 1875 has so comprehensive a selection of the artist’s sculptural production been gathered in one place.

Plaster cast after Michelangelo Buonarroti 

Brutus. Original 1540 or 1548, cast 1897 

The Royal Cast Collection, SMK – 

National Gallery of Denmark. Photo: SMK

Plaster cast after Michelangelo Buonarroti

Day (Giorno). Original c. 1525-26, cast 1897

The Royal Cast Collection, SMK – 

National Gallery of Denmark Photo: SMK

Plaster cast after Michelangelo Buonarroti 

Head of David. Original 1501-1504, cast 1890

The Royal Cast Collection, SMK – 

National Gallery of Denmark. Photo: SMK

Michelangelo’s focus was almost exclusively on the human body, especially the male form, in which he found endless scope for expressing thoughts, emotions and tensions. He invariably strove for greatness, reaching for the impossible. Already in his lifetime, he was described as ‘il divino’ – the divine. But his art also revolves around the imperfect, the unfinished and the fragile; around being in a state of becoming, anxious, wavering and hesitating. This is apparent in his biblical, mythological and allegorical subjects alike.

‘This is the impossible exhibition: You would never be able to gather Michelangelo’s original sculptures in one place. But with SMK’s collection of historical reproductions in plaster and newly produced facsimiles of the highest quality, we are able to present a perhaps imperfect, yet strikingly complete, overall account of a body of work that changed art forever and remains remarkably poignant today,’ says the exhibition’s curator, Matthias Wivel.

The basis for SMK’s exhibition is its exquisite collection of historical casts after Michelangelo sculptures in the Royal Cast Collection. Most of these were commissioned and cast in 1895–98 for the then-new National Gallery of Denmark (today SMK). Some were added in the twentieth- and early twenty-first century. The collection encompasses the majority of Michelangelo’s most famous sculptures.

Cast after Michelangelo Buonarroti

Head of David. Original c. 1501-04, cast 1890

Photo from the Royal Cast Collection, SMK – 

National Gallery of Denmark

Cast after Michelangelo Buonarroti

The Dying Prisoner. Original c. 1513-14, cast c. 1852–70

Photo from the Royal Cast Collection, SMK – 

National Gallery of Denmark

In order to get as close as possible to a complete presentation of the Renaissance master’s sculptures, SMK complements these historical plaster casts with newly commissioned and -produced 3D-modelled and cast sculptures – so-called facsimiles – produced in Madrid by Factum Foundation, world leaders in the production of facsimiles, reconstructions and rematerialisations of artworks.

This enables SMK to bring together under one roof reproductions of masterpieces that in the original are located in many different places and with only a few exceptions are never moved, either because they are too fragile to travel, too difficult to move, or, quite simply, too culturally significant. The exhibition also includes original sculptural models (maquettes), drawings, and letters from Michelangelo’s own hand.

‘This [is] a unique opportunity to experience Michelangelo’s sculptural art as a whole. At the same time, it offers a chance to reflect on the role played by reproduction and copying in art and in our understanding of art. Reproductions have always been part of the way we create and perceive art, but have been somewhat neglected in a museum context in recent times. We see great potential here,’ says the exhibition’s curator, Matthias Wivel.

In connection with the exhibition, SMK is publishing a comprehensive and richly illustrated catalogue that presents new research and unfolds themes from the exhibition – including an exploration of the relationship between original and copy, as well as a challenge to the distinction between the finished and the unfinished, the perfect and the imperfect.

NATIONAL GALLERY OF DENMARK

SMK - STATENS MUSEUM FOR KUNST

Sølvgade 48-50, 1307 Copenhagen

www.smk.dk

Related Posts:

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Teylers Museum, Haarlem

15 October 2025 - 25 January 2026

Michelangelo and Beyond

ALBERTINA Museum, Vienna

15 September 2023 - 14 January 2024

Lévy Gorvy Dayan at Art Basel 2025

Lévy Gorvy Dayan at Art Basel 2025

Messe Basel, Booth E12

June 17 – 22, 2025

YOKO ONO

Pointedness (detail), 1964/66 

Acrylic sphere on engraved acrylic pedestal, 

sphere diameter: 2⅝ inches (6.6 cm), 

pedestal: 56⁵⁄₁₆ × 10½ × 10 inches 

(143 × 26.6 × 25.4 cm) 

Edition 1 of 3, with 2 AP

Image courtesy of Lévy Gorvy Dayan

YOKO ONO

Water Piece (Painting to Be Watered) (detail), 1962/66 

Sponge, eyedropper, and water in glass vial 

on engraved acrylic pedestal, element dimensions variable, 

pedestal: 23½ × 23½ × 23½ inches (59.7 × 59.7 × 59.7 cm)

Edition 1 of 3, with 2 AP

Image courtesy of Lévy Gorvy Dayan

YOKO ONO

Forget It (detail), 1966 

Stainless steel needle on engraved acrylic pedestal, 

needle height: 3⅛ inches (8 cm), 

pedestal: 49¹³⁄₁₆ × 12 × 12 inches 

(126.5 × 30.5 × 30.5 cm)

Edition 1 of 3, with 2 AP

Image courtesy of Lévy Gorvy Dayan

Lévy Gorvy Dayan (Booth E12) presents three significant early works by Yoko Ono in its salon installation of singular modern and contemporary painting and sculpture at Art Basel.

Yoko Ono’s Pointedness (1964/66), Forget It (1966), and Water Piece (Painting to Be Watered) (1962/66) each debuted in her critically important solo presentation Yoko at Indica: Unfinished Paintings and Objects, Indica Gallery, London, 1966—the exhibition that also occasioned the artist first meeting John Lennon. Vehicles for ideas, Yoko Ono referred to these sculptures as “conceptual objects.” Incorporating readymades and encouraging physical and mental participation by the viewer, the works demonstrated an evolution of her Instruction Paintings of 1960 and 1961 and later Instructions for Paintings, which began in 1962 and represented the instruction itself as the artwork—divorcing concept from canvas, a development that anticipated conceptual art. Ono further advanced her project in 1964 when she published the influential book of her instructions Grapefruit.

Ono composed her “conceptual objects” utilizing translucent acrylic Plexiglas for pedestals that were engraved with her instruction texts—and presented modified readymade objects that recalled, in part, the work of Duchamp. Featured in the consequential white and transparent installation at Indica Gallery, the present sculptures invite consideration of the nature of absence and presence, visibility and invisibility, language and action. Tracing the evolution of Ono’s practice and object-making, Water Piece (Painting to Be Watered), for example, relates to her earlier Waterdrop Painting (1961) that asked the audience to drip water onto a piece of canvas on the floor. It also connects to her instruction published in Grapefruit: “Painting to be watered / Water every day. / 1962 summer.” The instruction “water every day” is here inscribed on the acrylic pedestal and the viewer is invited to wet the sponge with the eyedropper—an action that is infinitely repeatable as the water will evaporate. The participatory and imaginative sculptures illustrate how Ono’s practices in music, poetry, painting, and performance informed these culminating works.

PIERRE SOULAGES

Peinture 162 × 130 cm, 6 octobre 1963

Oil on canvas, 

Work: 63¾ × 51³⁄₁₆ inches (162 × 130 cm)

Framed: 69¾ × 56¹⁵⁄₁₆ inches (177.1 × 144.7 cm)

Image courtesy of Lévy Gorvy Dayan

GUNTHER UECKER

Doppel Spirale, 2019

Paint and nails on canvas on board

78¹³⁄₁₆ × 63¹⁄₁₆ inches (200.2 × 160.2 cm)

Image courtesy of Lévy Gorvy Dayan

THOMAS HOUSCAGO

Crystal No. 1, 2025

Bronze 

37¹³⁄₁₆ × 18⅛ × 25³⁄₁₆ inches (96 × 46 × 64 cm) 

Edition of 3, with 2 AP

Image courtesy of Lévy Gorvy Dayan

The booth will also feature a notable canvas in black, blue, and white oil by Pierre Soulages—Peinture 162 x 130 cm, 6 octobre 1963—that was first exhibited at the eminent Kootz Gallery, New York, in the artist’s 1964 solo presentation. Günther Uecker’s large-scale nail painting Doppel Spirale (2019) portrays two circular clusters of nails rhythmically undulating across the surface of the composition. A new sculptural work by Thomas Houseago, Crystal No. 1 (2025) will present an abstract female form in bronze from the artist’s series of metal plate constructions, which he initiated in 2018. The booth will additionally showcase a selection of Michelangelo Pistoletto’s recent Color and Light (2024) works in a vibrant array of hues, which reflect his lifelong use and exploration of the mirror in his oeuvre.

LÉVY GORVY DAYAN

www.levygorvydayan.com

Carmen Winant: Passing On @ Henry Art Gallery, University of Washington, Seattle

Carmen Winant: Passing On 

Henry Art Gallery, University of Washington, Seattle

Through September 25, 2025

CARMEN WINANT

Passing On [detail], 2022

Ink on newsprint

Courtesy the artist and PATRON Gallery, Chicago

Photo: Luke Stettner

The Henry Art Gallery at the University of Washington presents Carmen Winant: Passing On, an exhibition of works by CARMEN WINANT (b. 1983, San Francisco, CA; based in Columbus, OH).

Carmen Winant uses photography to explore collective acts of feminist care, survival, and resistance. Her work highlights the role of images in shaping feminist movements, questioning ideas about women’s power, healing, and liberation. Her large-scale photographic assemblages emerge from a research practice at the intersection of past and living archives, and contain thousands of images collected from libraries, advocacy organizations, instruction manuals, and estate sales. These works reference the importance of visual documentation, collection, and preservation in capturing everyday feminist action and care. 

The Henry presents a focused exhibition featuring works from Passing On (2022), a series of collaged newspaper obituaries of influential feminist activists and organizers. The clippings, presented with Winant’s handwritten annotations, reflect on a lineage of non-biological inheritance and how language shapes memory and history.

CARMEN WINANT is an artist and the Roy Lichtenstein Chair of Studio Art at the Ohio State University. Winant's recent projects have been shown at the Museum of Modern Art, the Whitney Museum of American Art, the Minneapolis Institute of Art, Sculpture Center, Wexner Center of the Arts, ICA Boston, the Cleveland Museum of Art, and el Museo Universitario Arte Contemporáneo. Winant's artist books include My Birth (2018), Notes on Fundamental Joy (2019), and Instructional Photography: Learning How To Live Now (2021); Arrangements, A Brand New End: Survival and Its Pictures (both 2022), and The last safe abortion (2024). Carmen Winant is a 2019 Guggenheim Fellow in photography, a 2020 FCA Artist Honoree and a 2021 American Academy of Arts and Letters award recipient. She is also a community organizer, prison educator, and mother to her two children, Carlo and Rafael, shared with her partner, Luke Stettner. 

Carmen Winant: Passing On is organized by Nina Bozicnik, Senior Curator, with Em Chan, Curatorial Assistant.

HENRY ART GALLERY

University of Washington

15th Ave NE & NE 41st St, Seattle, WA 98195

henryart.org

Carmen Winant: Passing On

Henry Art Gallery, University of Washington, Seattle

April 12 - September 25, 2025