Knowing the West presents works by Indigenous artists from more than 35 distinct tribal nations and by non–Native artists in order to recontextualize historical artworks, encourage deeper exploration of a familiar topic, and celebrate the rich cultures that reflect the complexity of the American West.
Candida Alvarez: Circle, Point, Hoop is the artist’s first large-scale museum survey exhibition, examining her practice over a span of more than forty years and including works rarely or never before seen.
Adam Pendleton is a multidisciplinary exploration of the artist’s practice, in which he uses text and images to recontextualize histories of Blackness, abstraction, and the avant-garde.
The Nacheyakda’ina Exhibition Project (nacheyakda’ina means “our ancestors” in the Dena’ina Athabascan language) delves into themes such as the rich artistic traditions of Indigenous peoples throughout the state of Alaska, the introduction of colonialism there, and the ongoing impacts of assimilative colonial institutions on contemporary Indigenous life.
“IT’S MORE THAN A QUILLBOX”/“Ooshme Gaawiyekaajigan aawon” is a bilingual (English and Anishinaabemowin) exhibition on Anishinaabe quillwork art at the Ziibiwing Center of Anishinabe Culture & Lifeways.
Jeremy Frey: Woven commemorates the artistic achievements of a celebrated Indigenous basket maker. Presenting more than 50 of Frey’s baskets from 25 lenders, the exhibition opens at the Portland Museum of Art before traveling to both the Art Institute of Chicago and the Bruce Museum in Greenwich, Connecticut.
Anila Quayyum Agha: Interwoven surveys two decades of the artist’s practice across a variety of media, including sculpture, installation, embroidery, painting, and drawing, and represents the most comprehensive exhibition to date of this Pakistani American visual artist.
This survey of Vietnamese American artist Tuấn Andrew Nguyễn brings together films, installations, and sculptures made in the last two decades. The exhibition explores transnational entanglements in the wake of colonialism.
Transcendence: A Century of Black Queer Ecstasy explores representations of ecstasy in the work of Black queer artists from the Harlem Renaissance through today.
Opening at London’s Mimosa House and later at Scottsdale Museum of Contemporary Art, transfeminisms explores a multiplicity of urgent, pressing, and ongoing issues faced by women, queer, and trans people across the globe.
Senga Nengudi and Maren Hassinger gives an in-depth overview of Nengudi’s and Hassinger’s practices, creating a project that establishes an intimate dialogue between them while highlighting the uniqueness of their shared paths.
Shifting Shorelines: Art, Industry, and Ecology Along the Hudson River brings together historical and contemporary art, visual and material culture, and environmental science to engage in a critical dialogue about the art of the Hudson River. Foregrounding alternative narratives, the works featured include objects of Lenape life, ceramic jars made by African Americans for the oyster industry from the eighteenth through the twentieth century, and contemporary Asian American artists’ responses to the river’s environmental damage, among other works.
