MARINA ADAMS (b. 1960, Orange, NJ) earned degrees from Tyler School of Art, Temple University, Philadelphia, PA and Columbia University, New York, NY. She is the recipient of the John Simon Guggenheim Memorial Fellowship (2016) and the Award of Merit Medal for Painting from the American Academy of Arts and Letters (2018). Adams has participated in various solo and group exhibitions, including the Modern Art Museum, Fort Worth, Texas (2020), the Parrish Art Museum, Water Mill, NY (2023; 2021), Milwaukee Art Museum (2023), Camden Arts Centre, London, UK (2016), and CUE Art Foundation (2008). Marina Adams’ work is in the collections of the MoMA, New York, the Modern Art Museum of Fort Worth, Texas, the Metropolitan Museum of Art, New York, and the Longlati Foundation, Shanghai, where Adams will have a solo exhibition opening in September 2023. She is a New York painter based in Bridgehampton, Long Island and the hills outside of Parma, Italy.

Past solo exhibitions include Mother Tongue at Galerie Thomas Schulte, Berlin Germany, (2023); Flower Power at Von Bartha Copenhagen, Denmark (2022); What Are You Listening To?, LGDR, New York, NY (2022); Wild Is Its Own Way, Stephen Friedman Gallery, London (2021); Anemones (2019), Soft Power (2017) Salon 94 Bowery, NYC. In 2016, Adams presented a solo booth with Karma Gallery and Books at the Independent Art Fair, NYC, concurrent with their publication of her book, Portrait and a Dream.

Adams has collaborated with poets Norma Cole, Charles Bernstein, Vincent Katz, Leslie Scalapino and Christian Prigent and has published prints with TwoPalms NY, ULAE, Niels Borch Jensen Copenhagen and VanDeb Editions.

RICHARD ALDRICH (b. 1975, Hampton, VA) received a BFA from the Ohio State University in 1998 and now lives and works in New York. Aldrich has been featured in group exhibitions at The Whitney Museum of American Art, New York, The Museum of Modern Art, New York, The Museum of Contemporary Art Busan, Busan, and The National Museum of Art, Osaka, Japan, among others. Furthermore, Aldrich’s work has been the subject of solo institutional exhibitions at the Contemporary Art Museum St. Louis (2011), San Francisco Museum of Modern Art (2011), Museum Dhont-Dhaenens, Deurle, Belgium (2016), and Fondazione Giuliani, Rome (2022). His work is in the collections of The Museum of Modern Art; The Whitney Museum; The San Francisco Museum of Modern Art; The Whitworth Art Gallery, University of Manchester; The National Museum of Art, Osaka, Japan; The Dallas Museum of Art; and the Smithsonian.

ALICE AYCOCK (b. 1946, Harrisburg, PA) is represented by Marlborough Gallery, NY and Galerie Thomas Schulte, Berlin. Aycock’s public sculptures can be found in many major cities, including East River Park Pavilion, NYC (1995/2014); San Francisco Public Library (1996); JFK International Airport, NY (1998/2013); Nashville, TN (2008); and Washington Dulles International Airport (2012). In 2014, a series of seven sculptures were installed in New York City, entitled Park Avenue Paper Chase. In 2016, she completed an entrance sculpture for MGM National Harbor, MD. A permanent large-scale installation was inaugurated at Pier 27 on the Toronto waterfront in 2017 as well as a second work there in 2021. In 2019, a retrospective was held at the Sprengel Museum, Hannover, Germany, and in 2020, six large-scale sculptures were installed in an outdoor solo exhibition at the Royal Djurgården in Stockholm, Sweden. Most recently, an entry work to Des Moines International Airport entitled Liftoff was completed.

TONY BECHARA (b. 1942, San Juan, Puerto Rico) received his BA from Georgetown University and did postgraduate studies at New York University’s School of International Relations, the Sorbonne in Paris, and the School of Visual Arts. As a painter and printmaker, he has participated in many group shows, including the Whitney Biennial, and exhibitions at Bard College; the Museum of Contemporary Art, Los Angeles; and other institutions. He has had one-person shows at galleries in Lima, Miami, Munich, New York City, San Juan, and Washington, D.C., and major solo exhibits at the Alternative Museum and El Museo del Barrio in New York and the Museo de Arte de Puerto Rico in San Juan. His paintings and prints are in collections in the United States, Europe, and Latin America. Bechara has been a recipient of a fellowship from the National Endowment for the Arts.

ROSS BLECKNER (b. 1949, New York, NY) became a prominent artistic voice in New York during the AIDS crisis in the 1980s. To this day, he is the youngest artist to receive a midcareer retrospective at the Solomon R. Guggenheim Museum, at the age of 45. His most recent solo presentation was at the Neues Museum Nürnberg in 2019. Previous exhibitions include the San Francisco Museum of Modern Art, San Francisco; Martin Gropius Bau, Berlin; Reina Sofia, Madrid; L.A. County Museum, Los Angeles; Kunstmuseum Luzern; and Zentrum Paul Klee, Bern. His paintings can be found in several major museum collections, such as the Museum of Modern Art and in the Whitney Museum of American Art in New York. Bleckner lives and works in New York City.

NANETTE CARTER (b. 1954, Columbus, OH) attended Oberlin College and received her BA in 1976; she studied as well at the Accademia di Belle Arti in Perugia, Italy. She received her MFA from Pratt Institute in 1978, and then taught drawing there for twenty years. She has exhibited across the country and around the globe, in Bermuda, Brazil, England, Germany, Senegal, Spain, and Togo, with solo shows in Cuba, Italy, Japan, and Syria. Carter’s works are in the collections of the Baltimore Museum of Art, the Pérez Art Museum Miami, the Studio Museum in Harlem, the Yale University Art Gallery in New Haven, and the Museo Nacional de Bellas Artes de Cuba in Havana, among other museums, and in a number of corporate collections. She has received grants from Anonymous Was A Woman, the Gottlieb Foundation, the Jerome Foundation, the National Endowment for the Arts, the New York Foundation for the Arts, and the Pollock-Krasner Foundation. Carter, who has served on the board of directors for the Harlem School of the Arts and on the artistic board of New York’s Cinque Gallery, cofounded by Romare Bearden, was recently inducted into Guild Hall’s Academy of the Arts in East Hampton, New York. She resides in New York City.

VIJA CELMINS (b. 1938, Riga, Latvia) has long been admired for her meticulous renderings of natural imagery, including ocean waves, desert floors, and night skies. Her paintings, sculptures, drawings, and prints depict scenes that are too vast or mercurial to be fixed in the mind’s eye. She first became interested in representing the visible world during the early 1960s, when she began to paint the objects in her Los Angeles studio — a lamp, a hot-plate, a heater, and other fixtures of everyday life — before turning her attention to photographs found in magazines and history books. By the end of the 1960s, when she first developed her all-over compositions of waves, rocks, and celestial bodies, she had set aside paint on canvas in favor of graphite on paper. When she began painting again in the 1980s, drawing and printmaking remained central to her art. Regarding her commitment to the material aspects of her process, Celmins has said, “I believe if there is any meaning in art, it resides in the physical presence of a work.”

PAMELA COUNCIL (b. 1986, Southampton, NY) lives and works in New York and Newark is an interdisciplinary artist who uses sculpture, architecture, writing, and performance to create multisensory dedications that both provide relief and prompt exuberance. These dedications – including Council’s iconic “fountains for Black joy” – upend the praxis of the static monument that demands the allegiance of passersby to, instead, serve as sites of deep care: their forms’ “high maintenance” calls viewers to an equally rigorous and cathartic tending of memory. Council coined the term BLAXIDERMY to describe their distinctive Afro-Americana camp aesthetic, which marries humor and horror in the exploration of material, cultural, and metaphysical inquiry.

JEREMY DENNIS (b. 1990, Southampton, NY) is a contemporary fine art photographer, an enrolled tribal member of the Shinnecock Indian Nation, and lead artist and founder of the nonprofit Ma’s House & BIPOC Art Studio Inc. In his work, he explores Indigenous identity, culture, and assimilation. Dennis was one of ten recipients of a 2016 Dreamstarter grant from the national nonprofit Running Strong for American Indian Youth; he was awarded $10,000 to pursue his project, On This Site: Indigenous Long Island, which uses photography and an interactive online map to showcase culturally significant Native American sites on Long Island, a topic of special meaning for him, as he was raised on the Shinnecock Reservation. He developed a book and an exhibition from this project. More recently, Dennis received an Artist2Artist Fellowship from the Art Matter Foundation.

In 2013, Dennis began working on the series Stories: Oral Stories, Dreams, and Experiences. Inspired by North American Indigenous tales, the artist staged supernatural scenes to transform myths and legends into photographic depictions. Dennis holds a BA in studio art from Stony Brook University and an MFA from Pennsylvania State University. He lives and works in Southampton on the Shinnecock Reservation, home also to the Ma’s House residency program.

RACHEL FEINSTEIN (b. 1971, For Defiance, AZ) was raised in Miami and received a BA in 1993 from Columbia University, New York, where she studied religion, philosophy, and studio art. Her work was included in the first iteration of MoMA PS1’s Greater New York in 2000, and in 2010–11 she transformed the modernist interior of Lever House, New York, into an interpretation of Hans Christian Anderson’s Snow Queen, rife with stylized elements of Rococo and Gothic design. Three years later, Folly (2014), an installation of three outdoor sculptures, was shown in New York’s Madison Square Park, and in 2018 she produced the Secrets series, reimaging the Victoria’s Secret “Angels” as large-scale sculptures that cannibalize notions of beauty, belief, and spectacle to reveal perfection as a form of burlesque. Feinstein’s first career survey, Maiden, Mother, Crone at the Jewish Museum, New York (2019–21), presented three decades of her sculptures, paintings, and videos and was accompanied by a major monograph. First exhibited in 2022, the Mirror series are oil paintings on mirror supports that reference sixteenth-century sculptural altarpieces. In 2023, Feinstein’s exhibition Façade at the SCAD Museum of Art, Savannah, Georgia, features her painted panoramas, large-scale sculptures, and wall reliefs in a multidimensional installation that shifts between reality and illusion. Also in 2023, a multipart project curated by Sergio Risaliti, director of the Museo Novecento, in Florence, Italy, exhibits Feinstein’s paintings and sculpture in dialogue with Baroque and Renaissance masterworks across three other museums in Florence: Palazzo Medici Riccardi, Museo Stefano Bardini, and Museo Marino Marini.

ERIC FISCHL (b. 1948, New York City, NY) grew up in the suburbs of Long Island and began his art education in Phoenix, where his family moved in 1967. He attended Phoenix College and earned his BFA from the California Institute of the Arts in 1972. In 1974, he moved to Halifax, Nova Scotia, to teach painting at the Nova Scotia College of Art and Design. His first solo show, curated by Bruce W. Ferguson, was held at Dalhousie Art Gallery in Halifax the next year. Fischl moved to New York City in 1978.

His paintings, sculptures, drawings, and prints have been the subject of numerous solo and group exhibitions, and his work is represented in museums, and private and corporate collections, including the Metropolitan Museum of Art, the Museum of Modem Art, and the Whitney Museum of American Art, New York; the Louisiana Museum of Art, Humlebæk, Denmark; the Musée Beaubourg, Paris; the Museum of Contemporary Art, Los Angeles; the Saint Louis Art Museum; and the PaineWebber art collection. Fischl, who has collaborated with E. L. Doctorow, Allen Ginsberg, Jamaica Kincaid, Jerry Saltz, and Frederic Tuten, among other artists and writers, is the founder, president, and lead curator for America: Now and Here. This multidisciplinary exhibition presenting more than 150 of America’s most celebrated visual artists, musicians, poets, playwrights, and filmmakers was designed to spark a national conversation about American identity through the arts. A fellow of the American Academy of Arts and Letters and the American Academy of Arts and Sciences, Fischl lives and works in Sag Harbor, New York, with his wife, the painter April Gornik.

RAPLH GIBSON (b. 1939, Hollywood, CA) often visited film sets as a young boy when his father was assistant director to Alfred Hitchcock. Gibson studied photography while in the US Navy and then at the San Francisco Art Institute. He began his professional career as an assistant to Dorothea Lange and went on to work with Robert Frank on two films. Since the appearance in 1970 of THE SOMNAMBULIST, his work has been steadily impelled towards the printed page. To date his work has been published in over 40 monographs. His photographs are included in over one hundred and eighty museum collections around the world, and have appeared in hundreds of one man exhibitions. He has lectured and led workshops in over 20 countries and in 2013 he spoke in schools and museums in China, Brazil, Australia and Bali. Gibson’s awards include fellowships from the John Simon Guggenheim Foundation and the National Endowment for the Arts, as well as the Leica Medal of Excellence, the Lucie Lifetime Award and the Silver Plumb Award. He is an Commandeur de l’Ordre des Arts et des Lettres of France, and holds honorary doctorates from the University of Maryland and Ohio Wesleyan University. In 2010 he collaborated with Lou Reed on the film RED SHIRLEY which was screened in 14 film festivals throughout Europe and North America. The High Museum of Art held a retrospective of his work entitled “Quartet” in 2012. In 2013 he endorsed a limited edition of the Leica Monochrom camera which bears his signature on the top plate. Recently Gibson has incorporated his photographs and musical compositions into film and live performances. In Sept. 2014 the Goeun Museum in Busan, Korea presented a retrospective of his work. Recent one man exhibits include Mary Boone Gallery, New York and the Galerie Bigaignon, Paris. In 2019 he was elected into the International Photography Hall of Fame. In June of 2018 he was decorated Chevalier of the Legion of Honor of France. He received the Leica Hall of Fame Award in 2021. In the Fall of 2022 the Goeun Family Foundation of Korea announced the opening of the Gibson-Goeun Museum in Busan, South Korea. This museum is exclusively devoted to the work of Gibson and includes over 1000 original prints making it the most comprehensive collection of the artist’s work in Asia.

ROBERT GOBER (b. 1954, Wallingford, CT) studied at Middlebury College in Vermont and the Tyler School of Art and Architecture in Rome and moved to New York in 1976. He began showing his sculpture regularly in 1984 and curating exhibitions in 1986. He has had numerous one-person shows nationally and internationally, notably at the Dia Center for the Arts and the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; the Walker Art Center, Minneapolis; the Schaulager, Basel; and the Serpentine Gallery, London. He represented the United States at the Venice Biennale in 2001. Gober’s curatorial projects have been shown at the Cable Gallery, Matthew Marks Gallery, and the Whitney Museum of American Art, New York; the Fraenkel Gallery, San Francisco; the Hammer Museum, Los Angeles; the Institute of Contemporary Art, Boston; and the Menil Collection, Houston. Gober’s three-story permanent installation in the Haunted House at the Fondazione Prada, Milan, opened in 2015. His work was included in the 2016 Artangel exhibition Inside: Artists and Writers in Reading Prison, held at that Victorian-era prison in England. Glenstone in Potomac, Maryland, opened a long-term pavilion of his work in 2018. Gober lives in New York and Maine with his partner, the artist Donald Moffett, and their dog.

JOANNE GREENBAUM (b. 1953, New York, NY) has exhibited widely at international venues including at the Nerman Museum of Contemporary Art, Overland Park, KS; Kunsthalle Dusseldorf, Germany; and MoMA PS1, New York, among many others. In 2008, a career-spanning survey of her work was mounted by Haus Konstruktiv in Zurich, Switzerland and travelled to the Museum Abteiberg in Monchengladbach, Germany. In 2018, the Tufts University Art Galleries at the School of the Museum of Fine Arts in Boston mounted Joanne Greenbaum: Things We Said Today, a comprehensive solo exhibition that travelled to the Otis College of Art and Design in Los Angeles.

Through her use of vibrant color and intuitive composition, Joanne Greenbaum’s work achieves balance through the unconventional layering of forms in a complex pictorial space. A desire for continual reinvention serves as the motivating force behind her distinctive and immediately recognizable paintings, works on paper and ceramics. Often using drawing as the springboard for her paintings, Greenbaum formulates a vital relationship between the two approaches which ultimately reflects her own unique vocabulary of line and volume. Her ceramic sculptures follow a similar path in clay- building structures which lead to surprising and highly inventive forms.

Greenbaum is the recipient of numerous awards and fellowships, including The Gwendolyn Knight Lawrence Award from the Academy of Arts and Letters, New York; the Joan Mitchell Foundation Grant; Artist in Residence at The Chinati Foundation, Marfa, TX; The Pollock-Krasner Foundation Grant and the John Simon Guggenheim Memorial Foundation Grant.

MARY HEILMAN (b. 1940, San Francisco, CA) earned a BA from the University of California, Santa Barbara (1962), and an MA from the University of California, Berkeley (1967). She moved to New York the following year, in 1968. Since then, Heilmann’s work has appeared in three Whitney Biennial exhibitions (1972, 1989, 2008) and is included in the permanent collections of many museums worldwide including the Museum of Modern Art, Whitney Museum of American Art, San Francisco MoMA, National Gallery of Art, the Bonnefanten Museum in Maastricht, Netherlands, and the Städel Museum in Frankfurt, Germany. She is a member of the American Academy of Arts and Letters (2017), was a United States Artists Oliver Fellow (2014), has received the Anonymous Was a Woman Foundation Award (2006) and grants from the National Endowment for the Arts and the Guggenheim Foundation. Mary Heilmann lives and works in Bridgehampton, New York and New York City. Heilmann is represented by Hauser & Wirth and 303 Gallery, New York.

SHEREE HOVESEPIAN (b. 1974, Isfahan, Iran) earned her MFA from the School of the Art Institute of Chicago in 2002, a dual BFA/BA from the University of Toledo in 1999, and studied at the Glasgow School of Art, Scotland in 1998. Hovsepian is included in 59th International Art Exhibition of La Biennale di Venezia, The Milk of Dreams, curated by Cecilia Alemani, with a whole room dedicated to her work. Recent solo exhibitions include Leaning In, Rachel Uffner Gallery, New York; Musings, Halsey McKay Gallery, East Hampton, NY; Sheree Hovsepian, Higher Pictures Gallery, New York, NY; and The Altogether, Monique Meloche Gallery, Chicago, IL. Recent group exhibitions include Affinities for Abstraction: Women Artists on Eastern Long Island, 1950-2020, Parrish Art Museum, Southampton, NY; There’s There There, Hauser & Wirth, Southampton, NY; Arches and Ink, Rachel Uffner Gallery, New York; Material Gestures, Stony Island Arts Bank, Chicago; and Where Do We Stand?, The Drawing Center, New York.

Hovsepian is in the permanent collections of the Art Institute of Chicago, the Bronx Museum, the Solomon R. Guggenheim Museum, and the Studio Museum in Harlem, among others. Hovsepian serves on the Art Advisory Committee of Baxter Street Camera Club of New York as well as sitting on various committees of culturally relevant institutions with an emphasis on arts education and development. She currently lives and works in New York City.  

VIRGINIA JARAMILLO (b. 1939, El Paso, TX) studied at Otis Art Institute, Los Angeles, from 1958–61. Jaramillo lives and works in New York. Jaramillo spent her formative years in California before moving to Europe and settling in New York City in late 1960s. Central to a career spanning six decades is Jaramillo’s drive to express materially our sensory perceptions of space and time in what she describes as ‘an aesthetic investigation which seeks to translate into visual terms the mental structural patterns we all superimpose on our world.’ Whether creating bold abstract paintings, sculptural mixed media compositions or meticulously formed handmade paper works, Jaramillo has forged a unique voice, experimenting with material and process to pursue her ongoing explorations of human perception of reality. Jaramillo’s work was featured in Tate Modern’s blockbuster exhibition Soul of a Nation: Art in the Age of Black Power, London, UK (2017); which toured to Crystal Bridges Museum of American Art, AR, USA; Brooklyn Museum, NY, USA; and the Broad, CA, USA; de Young museum, Fine Arts Museums of San Francisco, CA, USA; and The Museum of Fine Arts Houston, TX, USA (2018-2020). In 2017, Jaramillo exhibited in We Wanted a Revolution: Black Radical Women 1965-85 at Brooklyn Museum, NY, USA; which toured to Californian African American Museum, CA, USA; Albright-Knox Art Gallery, NY, USA; and Institute of Contemporary Art Boston, MA, USA (2018). The first major retrospective exhibition of Jaramillo’s work, Virginia Jaramillo: Principles of Equivalence, is currently on view at the Kemper Museum of Contemporary Art through 26 August 2023.

RASHID JOHNSON (b. 1977, Chicago, IL) is among an influential cadre of contemporary American artists whose work employs a wide range of media to explore themes of art history, individual and shared cultural identities, personal narratives, literature, philosophy, materiality, and critical history. Johnson received a BA in Photography from Columbia College in Chicago and studied for his MFA at the School of the Art Institute of Chicago. Johnson’s practice quickly expanded to embrace a wide range of media—including sculpture, painting, drawing, filmmaking, and installation—yielding a complex multidisciplinary practice that incorporates diverse materials rich with symbolism and personal history.

Johnson’s work is known for its narrative embedding of a pointed range of everyday materials and objects, often associated with his childhood and frequently referencing aspects of history and cultural identity. Many of Johnson’s more recent works delve into existential themes such as personal and collective anxiety, interiority, and liminal space.

KAWS (b. 1974, Jersey City, NJ) received his B.F.A from the School of Visual Arts, New York in 1996. He began his career as a graffiti artist on the East Coast of the United States, where he developed some of the forms that would later become part of his signature iconography. While working as an animator for television and film in the late 1990s, he began to gain underground recognition for his series of advertising interventions, in which he would stealthily remove and paint his characters onto existing commercial ads before returning them to their original locations.

KAWS has exhibited extensively in renowned institutions worldwide, including solo exhibitions at the Art Gallery of Ontario, Toronto, Canada (2023); Serpentine Gallery, London, United Kingdom (2022); High Museum of Art, Atlanta, Georgia (2022 & 2011); Mori Arts Center Gallery, Tokyo, Japan (2021); The Brooklyn Museum, New York (2021); The National Gallery of Victoria, Melbourne, Australia (2019); Fire Station, Qatar Museums, Doha, Qatar (2019); Museum of Contemporary Art, Detroit, Michigan (2019); Contemporary Art Museum St. Louis, Missouri (2017); Modern Art Museum of Fort Worth, Texas (2016) which traveled to the Yuz Museum, Shanghai, China (2017); and many more.

MEL KENDRICK (b. 1949, Boston, MA) is a three-time recipient of a National Endowment for the Arts Fellowship and received both the Francis J. Greenburger Award and the American Academy of Arts & Letters’s Academy Award. Kendrick’s work is represented in the collections of leading museums across the U.S., including the Museum of Modern Art, The Metropolitan Museum of Art, and the Whitney Museum of American Art, New York; National Gallery of Art, Washington, D. C.; Walker Art Center, Minneapolis; Philadelphia Museum of Art; Yale University Art Gallery, New Haven; The Art Institute of Chicago; Nasher Museum of Art, Durham, NC; Parrish Art Museum; Addison Gallery of American Art, Andover, MA; Dallas Museum of Art; Museum of Fine Arts, Houston; and Hood Museum of Art, Dartmouth College, Hanover, NH. International venues include Australian National Gallery, Canberra; Centro Cultural Arte Contemporano, Mexico City; and Daimler Kunst Sammlung, Berlin.

CLAUDE LAWRENCE (b. 1944, Chicago, IL) moved to New York City from Chicago in the mid-1960s, and for the next twenty years toured the United States as a saxophonist. He was drawn to visual expression from a young age, and was inspired by the work of Norman Lewis, who frequently responded to jazz in his abstract compositions. Lawrence’s focus eventually shifted to painting. From growing up in Chicago—where he attended an arts and music school with composer Anthony Braxton and drummer Jack DeJohnette—to spending long periods of time in New York City—where he became part of the downtown loft jazz scene, taking lessons with Ornette Coleman, and encountered artists Frank Bowling and Edvins Strautmanis, and forged longtime friendships with painters Jack Whitten and Joe Overstreet.

This crossover between jazz and abstraction can be seen in Lawrence’s energized compositions of bold colors and impassioned brushstrokes, where graffiti-like marks jostle alongside energetic but deliberate scrawl and more meditative fluid works hum with frenetic movement. Art historian Andrianna Campbell attests to the depth of influence that Lawrence’s musical career had on his painting, and has noted that his work often operates “as a fusion of improvisation and subject matter governed by memory akin to the way that a jazz musician follows the established chord progressions and recycles it to render it continually new.” Lawrence’s recent body of work, completed in France and in residency at The Church, in Sag Harbor, New York, includes his most monumental paintings yet, in both scale and ambition. Lawrence currently resides in Sag Harbor.

ROBERT LONGO (b. 1953, Brooklyn, NY) is a New York–based artist, filmmaker, and musician. He was a protagonist of the Pictures Generation, working across drawing, photography, painting, sculpture, performance, and film to make provocative critiques of the anesthetizing and seductive effects of capitalism, mediatized wars, and the cult of history in the United States. Through his labor-intensive, large-scale charcoal drawings, Longo has attempted to “slow down” the viewer’s consumption of what he refers to as a surrounding “image storm,” a daily flow of images across our screens. His work is represented in numerous major museums and private collections around the world, including the collections of the Broad, Los Angeles; the Centre Pompidou, Paris; the Museum of Modern Art, New York; and the Tate Museum, London. Longo lives and works in New York and is represented by Pace Gallery and Galerie Thaddaeus Ropac. The Albertina Museum in Vienna will present a retrospective of his career in fall 2024.

EDDIE MARTINEZ (b. 1977, Groton, CT) spent his adolescent years making graffiti, and now creates paintings on canvas that retain the rough, expressionistic lines and bold colors of street art. Working between representation and abstraction, he uses oil, enamel, and spray paint and often incorporates found objects, in a fast-paced practice that could be compared to automatism. Noted for his deft draftsmanship, Martinez produces large-scale works that maintain the feeling of drawings. His most apparent visual references are the CoBrA group and Abstract Expressionism; Barry McGee has also been an important figure for him. In addition to paintings, Martinez produces found-object sculptures and works on paper. He lives and works in Brooklyn.

SUZANNE MCCLELLAND (b. 1959, Jacksonville, FL) has exhibited extensively in the United States and abroad since the early 1990s. Her practice includes large-scale paintings, works on paper, and books. These often extract fragments of speech or text from various political or cultural sources, explore the social, symbolic and material possibilities that reside within language, and celebrate the physicality of speech and sound. McClelland parses such issues as the limitations and malleability of communication, the impact technology has on interpreting information, and the mechanics of translation. Her works are infused with social commentary, underscoring the way in which language itself is gendered and politicized by its context.

McClelland has participated in the 1993 and 2014 Whitney Biennials and has been the subject of solo presentations at The Aldrich Museum of Contemporary Art, curated by Amy Smith-Stewart; The University of Virginia Museum of Art, curated by Jennifer Farrell; and The Whitney Museum of American Art, Philip Morris branch, curated by Thelma Golden. Her paintings are held in numerous public collections, including The Museum of Modern Art, The Metropolitan Museum of Art, The Brooklyn Museum, The Yale University Art Gallery, The Albright-Knox Gallery, and The Walker Art Center. Awards and residencies include Guggenheim Fellowship in 2019, PS1/ Clocktower, Nancy Graves Foundation Grant, American Academy of Arts and Letters, Berg Contemporary invitational Residency in Stykkisholmur, Iceland, Skowhegan School of Painting and Sculpture, Anonymous Was A Woman Award, Lab Grant Residency with Dieu Donne Papermill and a Visiting Artist with Urban Glass and Troedsson Villa, Nikko Japan. Recent publications include monograph “Suzanne McClelland: 36-24-36” with an essay contribution by Thierry de Duve, published by team (gallery, inc.) in 2016 and distributed by D.A.P.

SAM MOYER (b. 1983, Chicago, IL) received her BFA from the Corcoran College of Art and Design and her MFA from Yale University. Her first solo exhibition, in 2008 at Cleopatra’s Gallery in Brooklyn, included work that incorporated moving blankets extended like paintings onto stretcher bars. After a residency in Switzerland, Moyer shifted her focus to “poetics in the found object,” and began making book sculptures. She then started working with fabric distorted with dye and bleach, as well as stone sourced from local marble yards and warehouses. Moyer’s practice has evolved from more conceptual and process-based origins to address formal and theoretical questions about the construct of painting. In all her production, scale and space are critical, and she is particularly interested in the way architecture functions in tandem with her objects to create dynamic visual experiences.

Moyer’s first solo public art installation, Doors for Doris, was on view at the entrance to New York’s Central Park at Doris C. Freedman Plaza in 2020–2021. Her works are featured in prominent public collections, including the Davis Museum at Wellesley College, Massachusetts; the Morgan Library & Museum, the Museum of Modern Art, and the Whitney Museum of American Art, New York; the Yale University Art Gallery, New Haven; the Aïshti Foundation, Beirut; and the Louis Vuitton Foundation, Paris. Moyer has exhibited her work at the Bass Museum of Art, Miami; the Contemporary Art Museum and White Flag Projects, St. Louis; The Drawing Center and through the Public Art Fund, New York; LAND, Los Angeles; the University Art Museum, University of Albany; and Tensta Konsthall, Stockholm. Among the important group exhibitions in which she has participated are Greater New York and Between Spaces at MoMA PS1 Contemporary Art Center (now MoMA PS1), Queens, New York; Inherent Structure, Wexner Center for the Arts, Columbus, Ohio; and Painting/Object, FLAG Art Foundation, New York. In 2018 she was the subject of a large-scale solo presentation at Art Basel Unlimited. Moyer lives and works in Brooklyn.

ALIX PEARLSTEIN (b. 1962, New York, NY) has a practice which spans the fields of video, performance, installation, sculpture and collage. Across these forms, she describes an arena in which competitions, seductions, vanities, and judgments are both the subject and the object of scrutiny. She often works with modular figurative objects, both handmade and readymade, as well as with ensemble groups of actors, mining their professional skills and personal dramas for points of connection or dissonance. Whether staging interactions between groups of people or groups of things, her works explore human subjectivity through relationships, behavior, character, power dynamics and social constructs, to highlight moments where the psychological and spatial overlap.

Pearlstein’s work has been widely exhibited internationally. Selected solo exhibitions include The Neuberger Museum, Purchase, NY; ASHES/ASHES, NYC; UK Art Museum, Lexington KY; Upfor Gallery, Portland OR; On Stellar Rays, NYC; deCordova Sculpture Park and Museum, Lincoln, MA; Ballroom Marfa, Texas; Samson, Boston; Atlanta Contemporary Art Center; CAM, St. Louis; The Kitchen, NYC, Lugar Comum, Lisbon, Portugal; MIT List Visual Arts Center, Cambridge MA and The Museum of Contemporary Art, Chicago. Performances have been seen at Aspen Art Museum; Art Basel, Miami Beach; The Park Avenue Armory, and Salon 94, NYC. Selected group exhibitions include FRONT Triennial, Cleveland, OH; Whitechapel Gallery, London; ParaSite, Hong Kong; The New Museum, NYC; INOVA, Milwaukee; MoBY-Museums of Bat Yam, Israel; Internationale D’Art De Quebec; Annual Exhibition of Visual Art, Ireland; The Whitney Museum, NYC; SMAK, Ghent, Belgium; Biennale de Lyon, France; Stedjelijk Museum, Amsterdam, NL; The Solomon R. Guggenheim Museum, and The Museum of Modern Art, NYC. Pearlstein is a recipient of the Foundation for Contemporary Art Grants to Artists Award. She has been on Skowhegan’s Board of Governors since 2004, currently serving as co-chair. She lives and works in NYC and Orient, NY.

ENOC PEREZ (b. 1967, San Juan, Puerto Rico) moved to New York from Puerto Rico in 1986 and received a BFA from Pratt Institute and an MFA from Hunter College. His works are in the collections of major institutions, including the British Museum, London; the Corcoran Gallery of Art, Washington, D.C.; the Metropolitan Museum of Art, the New York Public Library, and the Whitney Museum of American Art, New York; the Museo de Arte Contemporáneo de Puerto Rico, San Juan; San Francisco Museum of Modern Art; and Yale University Art Gallery, New Haven. Perez has had solo exhibitions at Dallas Contemporary, the Museum of Contemporary Art North Miami, and UTA Artist Space, Los Angeles. He has been featured in such group exhibitions as Caribbean: Crossroads of the World, the Studio Museum in Harlem, Queens Museum of Art, and El Museo del Barrio, New York; City Self at the Museum of Contemporary Art, Chicago; Dear Painter, Paint Me…, at the Centre Pompidou, Paris; The Undiscovered Country at the Hammer Museum, Los Angeles; and Variable Dimensions: Artists and Architecture at the Pavillon de l’Arsenal, Paris. He lives and works in Brooklyn.

UGO RONDINONE (b. 1964, Brunnen, Switzerland) studied at the Universität für Angewandte Kunst in Vienna before moving in 1997 to New York, where he lives and works to this day. His multidisciplinary works, which borrow from ancient and modern cultural sources alike, exude pathos and humor, going straight to the heart of the most pressing issues of our time, where modernist achievement and archaic expression intersect. Rondinone’s work has been the subject of solo presentations at the Art Institute of Chicago; the Bass Museum of Art, Miami; the Berkeley Art Museum, California; the Carré d’Art, Nîmes; the Centre Pompidou and the Petit Palais, Paris; the Contemporary Art Center Cincinnati; the Musée d’Art et d’Histoire, Geneva; the Museo d’Arte Contemporanea di Roma; the Museum Boijmans Van Beuningen, Rotterdam; the Palais de Tokyo; the Rockbund Art Museum, Shanghai; Schirn Kunsthalle, Frankfurt; the Secession and the Belvedere, Vienna; the Scuola Grande San Giovanni Evangelista, Venice; the Tamayo Museum, Mexico City; and the Whitechapel Gallery, London. Rondinone represented Switzerland at the 52nd Venice Biennale. Future exhibitions will be held at the Phillips Collection, Washington, D.C.; the Städel Museum, Frankfurt; and Storm King Art Center, New York.

DAVID SALLE (b. 1952, Norman, OK) helped define the post-modern sensibility by combining figuration with an extremely varied pictorial language. Solo exhibitions of his work have been held at museums and galleries worldwide, including the Whitney Museum; Museum of Contemporary Art, Los Angeles; Stedelijk Museum, Amsterdam; MoMA Vienna; Menil Collection, Houston; Haus der Kunst, Munich; Tel Aviv Museum of Art; Castello di Rivoli; and the Guggenheim, Bilbao. Although known primarily as a painter, Salle’s work grows out of a long-standing involvement with performance. Over the last 25 years, he has worked with choreographer Karole Armitage, creating sets and costumes for many of her ballets and opera productions. Their collaborations have been staged at venues throughout Europe and America, including the Metropolitan Opera House, the Brooklyn Academy of Music, and the Deutsche Oper Berlin. In addition, Salle is also a prolific writer on art. His essays and interviews have appeared in Artforum, Art News, The Paris Review, and The New York Review of Books, as well as numerous exhibition catalogs and anthologies. His collection of essays, HOW TO SEE: Looking, Talking, and Thinking about Art, was published by W.W. Norton in 2016

SEAN SCULLY (b. 1945, Dublin, Ireland) lives and works between New York, Bavaria and Aix-en-Provence. Sean Scully’s work is in the collection of virtually every major museum around the world. In 2014, he became the only Western artist to have had a career-length retrospective exhibition in China. This led to his being awarded the International Artist of the Year Prize in Hong Kong in 2018.

2018-2019 also saw important solo exhibitions such as Landline at The Hirshhorn Museum and Sculpture Garden in Washington D.C., which toured to the Wadsworth Atheneum, Connecticut, USA; Landline and other works at the De Pont Museum in the Netherlands; a retrospective titled Vita Duplex at the Staatliche Kunsthalle Karlsruhe, Germany; Sea Star at The National Gallery, London, and the first major exhibition of Sean Scully’s sculptures at the Yorkshire Sculpture Park, UK. Eleuthera, Sean Scully’s new figurative paintings, were given a solo exhibition at The Albertina, Vienna; the retrospective Long Light opened at the Villa and Collection Panza, Varese, Italy; and HUMAN, an exhibition of new paintings and sculpture was shown at San Giorgio Maggiore in Venice, Italy, for the 58^th Venice Art Biennale.

In 2020 the Hungarian National Gallery, Budapest opened Passenger, a major retrospective and his first exhibition in Central Europe, which travelled to the Benaki Museum, Athens and the Museum of Contemporary Art, Zagreb, Croatia.

2022 is marked by the major fifty-year career retrospective Sean Scully: The Shape of Ideas at the Philadelphia Museum of Art, in the USA, previously shown at the Modern Art Museum of Fort Worth, Texas in 2021, alongside three further retrospectives: Song of Color at the Langen Foundation, Neuss, Germany; Painting and Sculpture, at the Centrum Sztuki Współczesnej (CSW), Toruń, Poland; A Wound in a Dance with Love, MAMbo Museum of Modern Art of Bologna, Italy; and a further important solo exhibition Material World, at the Thorvaldsens Museum, Copenhagen, Denmark.

CINDY SHERMAN (b. 1954, Glen Ridge, NJ) is a photographer whose groundbreaking work has for more than four decades interrogated themes around representation and identity in contemporary media. Before coming to prominence in the late 1970s with the Pictures Generation, alongside artists such as Sherrie Levine, Richard Prince, and Louise Lawler, Sherman studied art at Buffalo State College, where she turned her attention to photography. In 1977, shortly after moving to New York City, she began her critically acclaimed Untitled Film Stills. In this suite of sixty-nine black-and-white portraits, Sherman impersonates an array of stereotyped female characters and caricatures inspired by Hollywood, film noir, and B movies. Using a range of costumes, props, and backdrops to manipulate her own appearance in photographs resembling promotional film images, the series explores the tension between artifice and identity in consumer culture, which has preoccupied the artist’s practice ever since.

From the early 2000s, Sherman has used digital technology to further manipulate her roster of characters. For the Clown series she added psychedelic backdrops that are at once playful and menacing, to examine the disparity between the exterior persona and interior psychology of her subject. In Society Portraits she used a green screen to create grandiose environments for women of the upper echelons of society. These CGI backdrops add to the veneer-like charm of the characters Sherman portrays, heavily made up and absorbed by societal status in the face of aging. Her later works continue to offer a satirical view of the modern obsession with youth and beauty that has been projected onto women for decades. In 2017, the artist began employing Instagram to upload portraits that rely on a number of face-tuning apps, morphing her into a plethora of protagonists in kaleidoscopic settings. Disorienting and uncanny, the posts highlight the dissociative nature of Instagram in regard to reality and the fractured sense of self in modern society that she has uniquely encapsulated from the outset of her career. Sherman lives and works in New York City.

AMY SILLMAN (b. 1955, Detroit, MI) lives and works in New York City and the North Fork. Known primarily as an abstract painter, Sillman works with vigorous formal and improvisational methods, but also seeks to complicate abstract painting by folding in other ideas and frameworks, such as animation, digital printing, installation, writing, editing, humor and criticality. Sillman’s work has been exhibited widely since the 1990’s at institutions and galleries in the USA,  Europe and most recently in Brazil, and including The Whitney Museum, NY; The Hirshhorn Museum in Washington DC; the ICA/Boston; the Albright Knox Museum in Buffalo, NY; and The Drawing Center, New York City.  In 2022, she participated in the 59^th Venice Biennale in “The Milk of Dreams,”  curated by Cecilia Alemani.   In 2019, Sillman curated a widely-heralded exhibition at MoMA, “The Shape of Shape,” for their Artist’s Choice exhibition series. Her works are held in the collections of many prominent private and public collections, including MoMA, the Whitney, the Met, The Art Institute of Chicago, The Tate Modern in London, and The National Gallery in Washington D.C. A long-time art educator, Sillman has held positions as Professor at the Staedelschule in Frankfurt from 2015-2019, and as co-chair of the Painting Dept of Bard College’s MFA Program between 1997 and 2013. Her work has been published and written about extensively, and her own collection of art writing, Faux Pas, is in its third reprint since its initial publication in 2020. Sillman is represented by Gladstone Gallery in New York.

NED SMYTH (b. 1948, New York, NY) has been showing his work since 1974. He has had international exhibitions in both museums and galleries, including MOMA, The Venice Biennale, PS1, Museum of Modern Art  Oxford England, the Contemporary Art Center Cincinnati, The Holy Solomon Gallery, Rudolph Zwirner Gallery in Cologne, and Galerie Bruno Bischofberger in Zurich. In 1977, Smyth was awarded his first Public Art Project – a fountain for the GSA. Since then, he has completed over forty three large scale Public Art Projects. Starting in 1976, Smyth was one of the first contemporary artists to use mosaic. “Steve Miotto, of Miotto Mosaics, started as my studio assistant, doing many mosaic works and projects with me, before starting his company and fabricating many of the subway commissions.” Smyth’s “Upper Room” was the first art project commissioned for Battery Park City NY. He has pieces from Anchorage Alaska, to Saint Thomas the Virgin Island, and in cities like Philadelphia, Pittsburgh, Fort Lauderdale, Savannah, Wilmington, Brooklyn, and Dublin.

Smyth’s early work was in the minimal tradition, except that he included architectural references and created architectural spaces. Before the development of the Post-Modern Architectural style, Smyth was quoting or eluding to historical architectural periods and detail. In the mid 70s, his environmental gallery exhibitions quickly led him to being commissioned to create public spaces for cities and corporations. Smyth was one of the forerunners of the development of Public Art and Artistic Public Spaces in the USA. In his work, he uses many mediums including bronze, photography, cement, fabric, metal, mosaic, water, language, and landscape.

LESLEE STRADFORD (b. 1950, Chicago, IL) grew up in Hyde Park, one of Chicago’s most diverse neighborhoods, home to the University of Chicago, the Museum of Science and Industry, the DuSable Black History Museum and Education Center, and President Barack Obama. After earning her BFA and BA from the School of the Art Institute of Chicago, Stradford was selected for the artist-in-residence program of the City of Chicago, one of twenty visual artists chosen to create art for the city’s permanent collection. Upon completing her MFA from the School of the Art Institute, she earned her doctorate in Art Education and Educational Administration from Illinois State University.

Stradford taught at the American Language Center in Casablanca and has lectured in England at Oxford. Her studies and practices have taken her to the Studio Arts Center International in Florence and to a prestigious artist-in-residence position at Red Gate Gallery in Beijing. She has developed a style of making art that includes social, cultural, and historical documentation and that is sometimes figurative, sometimes abstract, sometimes a mix. Using new technology, drawing, and photographic research, she creates digital images, painted canvases, and printed silks.

MICHELLE STUART (b. 1933, Los Angeles, CA) has created a multifaceted body of work, shifting among large-scale earthworks, collage, drawings, photography, and sculpture. She has devoted her decades-long practice to recording and studying traces upon the earth, whether by nature or by human hand, as imprints of identity. She maps the passage of time and space, retrieving histories as much as she makes us aware of their irretrievability. She often uses organic materials such as earth, beeswax, and plants, rubbing them against paper or transforming them into new objects with a talismanic aura. Even when working with photography, she perceives it as an imprinting process, frequently researching and rephotographing old prints to recall forgotten moments in history.

Stuart has exhibited internationally over the past forty years. Notable solo exhibitions include the long-term view of Sayreville Strata Quartet, Dia, Beacon, New York; Place and Time, Walker Art Center, Minneapolis; Theatre of Memory: Photographic Works, the Bronx Museum of the Arts, New York; and Drawn from Nature, which opened at the University of Nottingham, England, and traveled to the Parrish Art Museum, Water Mill, New York, and the Santa Barbara Museum of Art. Her work is featured in public collections worldwide, including the Art Institute of Chicago; Glenstone, Potomac, Maryland; Moderna Museet, Stockholm; the Museum of Contemporary Art Australia, Sydney; the Museum of Modern Art, New York; the San Francisco Museum of Modern Art; and Tate Gallery, England.

DONALD SULTAN (b. 1951, Asheville, NC) is a highly regarded contemporary artist, earning his BFA from the University of North Carolina, Chapel Hill, and MFA from the School of the Art Institute in Chicago before establishing himself in New York in 1975. Since his solo debut in 1977, Sultan has excelled as a distinguished painter, printmaker, and sculptor. Renowned for seamlessly merging traditional and modern elements, Sultan’s large-scale paintings, often classified as still lifes, present bold compositions employing industrial materials like tar and concrete, contributing to the unique texture and character of his pieces. Sultan’s art, described by him as a blend of basic geometric and organic forms with a formal purity, has left an indelible mark on contemporary art. Sultan’s subjects evolve organically, maintaining powerful statements amid abstraction. His work, showcased globally in solo and group exhibitions, is a part of prestigious permanent collections, including The Museum of Modern Art, the Dallas Museum of Art, and the Metropolitan Museum of Art.

HANK WILLIS THOMAS (b. 1976, Plainfield, NJ) is a conceptual artist who works primarily with themes related to perspective, identity, commodity, media, and popular culture. He holds a BFA from New York University and an MA/MFA from the California College of the Arts, and has received honorary doctorates from the Maryland Institute College of Art and the Institute for Doctoral Studies in the Visual Arts. Thomas’s work has been exhibited throughout the United States and abroad, at the Guggenheim Museum Bilbao; the Hong Kong Arts Centre; the International Center of Photography, New York; the Musée du Quai Branly Jacques Chirac, Paris; and the Witte de With Center for Contemporary Art (now Kunstinstituut Melly), Rotterdam.

His collaborative projects include Question Bridge: Black Males; In Search of the Truth (The Truth Booth); The Writing on the Wall; and the For Freedoms initiative, winner of the ICP Infinity Award for New Media and Online Platform. Thomas is a recipient of Gordon Parks Foundation and Guggenheim Foundation fellowships, a Soros Equality fellowship and a Renew Media Arts fellowship from the Rockefeller Foundation, an AIMIA | AGO Photography Prize, an Aperture West Book Prize, and the New York Foundation for the Arts Fellowship Award. He is a member of the Public Design Commission for the City of New York. His projects Love over Rules in San Francisco and All Power to All People in Opa-locka, Florida, were unveiled in 2017, and his permanent work Unity in Brooklyn was installed in 2019. He lives and works in Brooklyn.

JOHN TORREANO (b. 1941, Flint, MI) is an American artist, best known for utilizing faceted gems in a variety of mediums and methods in order to create “movement-oriented perception” in his works.

Torreano grew up in a large Catholic family and this has influenced his artistic practice; he always uses of jewels serving as a metaphor for vigil lights. Other religious influences appear in his pieces as well while in recent years his paintings have used gems to create space-like constellations. Throughout his career, Torreano has investigated the properties of real and fake gemstones in the differing contexts of lighting, placement and materials. Artist Richard Artschwager described Torreano’s works as “paintings that stand still and make you move”.

Torreano’s works have been exhibited in several museums and institutions, among all: Whitney Museum of Art, the Museum of Modern Art, New York, the Museum of Contemporary Art, Chicago, the Corcoran Gallery of Art, Washington DC, the Indianapolis Museum of Art, Indianapolis and many others. His series of paintings titled “TV Bulge” were featured in the 1969 Whitney Biennial.

STANLEY WHITNEY (b. 1946, Philadelphia, PA) Lives and works in Bridgehampton, New York and Parma, Italy. Since the mid-1970s, painter Stanley Whitney has been exploring the formal possibilities of color. Whitney’s work is included in public collections around the world, including the Metropolitan Museum of Art, New York; Whitney Museum of American Art, New York; The Long Museum, Shanghai; Art Gallery of New South Wales, Sydney; and National Gallery of Canada, Ottawa. Whitney’s work will be the subject of a 2024 survey exhibition organized by the Buffalo AKG Art Museum that will travel to the Walker Art Center, Minneapolis, and the Institute of Contemporary Art, Boston.

NINA YANKOWITZ (b. 1946, Newark, NJ) has for the past six decades created works of abstraction imbued with her formal and social justice concerns. A founding member of the iconic feminist collective Heresies, since the 1960s she has worked across and beyond traditional art forms. Whether taking radical approaches to painting or mounting ambitious multimedia installations, she has probed the material, political, and even sonic nature of abstract art. Yankowitz studied at Temple University and the New School for Social Research before graduating in fine art from the School of Visual Arts.

A few years after graduating from the School of Visual Arts, Yankowitz was invited to participate in the inaugural 1973 Whitney Biennial. During the mid-1970s, she began attending meetings with a group of feminist artists and writers. They would become the Heresies Collective, which from 1977 to 1993 issued the journal Heresies: A Feminist Publication on Art and Politics. The group sought to challenge patriarchal art institutions and systems. Yankowitz has been a fixture in the booming postwar art scene on the East End of Long Island, spending long periods in Southampton with artist friends Hermine Freed, Marjorie Strider, and architect James Ingo Freed. Yankowitz lives and works in Sag Harbor and New York City.​

JOE ZUCKER (b. 1941, Chicago, IL) has experimented with what has become his signature technique: canvases featuring cotton balls rolled in paint, since the 1970s. Resulting in a highly textured surface reminiscent of mosaic, this technique radically transforms the canvas and challenges flatness. Zucker, like Robert Ryman, was and remains acutely focused on building a painting out of the medium’s most basic means and materials: the visible interaction of the painting tool, the application of paint, the materiality and shape of the support. Throughout his extensive career, Zucker has exhibited alongside artists such as Agnes Martin and Brice Marden at New York City’s pioneering Bykert Gallery in the 1960s, and later with dealer Holly Solomon, who was well known for her support of new and experimental mediums.

Zucker’s work is in many public collections, including the Brooklyn Museum, the Metropolitan Museum of Art, the Museum of Modern Art, the New Museum, and the Whitney Museum of American Art in New York; the National Gallery of Victoria, Melbourne; the Philadelphia Museum of Art; and the Tel Aviv Museum.