Past Exhibitions

Life in the Anthropocene features a room-sized graph of the volume of Global Plastic Production (1950-2040), assembled with discarded plastics collected largely from the artist’s household, her office, and her neighbors.

of permutations and patterns draws inspiration from several sources including early modern botanical illustrations; the diagrams of plant circumnutation (the autonomous, cyclical movement of plants in response to environmental stimuli) done by Charles Darwin in the 1880s; and the engravings from Nehemiah Grew’s 1682  “The Anatomy of Plants,” some of the earliest studies of plant morphology through a microscope.

To many, the United States is sliding into madness and autocracy. Fueled by a cult of personality to a grifter and a demagogue, half the country cheers the spreading authoritarianism while the other half looks on in disbelief.

But some are beginning to push back. RESIST is an ongoing series that documents this growing backlash. These photographs highlight individual and collective acts of resistance by ordinary people peacefully protesting the creeping authoritarianism overtaking their country. Although the current political and cultural situation seems bleak, these acts of defiance can have a profound effect on our collective future. After all, a single grain of sand may be insignificant. But a million grains of sand can grind the gears of tyranny to a halt.

RESIST is thus a celebration of resistance and a call to action. It asks viewers to ponder the question “What are you willing to do or risk to resist?”

April 4-May 31, 2026

The exhibition celebrates work produced between 1940–1996 by well-known figures who pushed artistic boundaries to produce a pan-American visual language and spotlights avant-garde artists who defined foundational movements like surrealism and geometric abstraction. Featuring artists such as Roberto Matta (Chile), Sarah Grilo (Argentina), Manabu Mabe (Brazil), and Jesús Rafael Soto (Venezuela), the exhibition charts the cultural exchanges and creative tensions fostered by Latin American artists, whose experimentations with form, color, and movement created powerful dialogues within and beyond their respective countries.

Unbreakable Elements by Jun Lee explores printmaking through materials such as wood, paper, and glass – each chosen for its ability to withstand pressure. These works consider the ways we gather strength after moments of defeat and how we rebuild both individually and collectively amidst ongoing precarity. Lee’s work utilizes animals and the cultural narratives that surround them as an accessible entry point to consider our own social dynamics: we, too, are capable of both ruthless competition and compassionate collectivity in our struggles to survive. The reduction woodcut technique Lee employs to create layered imagery further reflects the themes of resilience and transformation. Each carved decision is irreversible: once material is removed, there is no turning back. What remains is a commitment to progress, an acceptance that life requires us to face the consequences of our choices, adapt, and continue.

Water, Fiber, Form: Stories of Black Hair is a mixed-media exhibition that explores the intersections of material, memory, and identity through textiles, ceramics, and collage. Rooted in Black hairstyling traditions, the work reimagines hair as a fiber art, positioning braiding, weaving, and adornment within the lineage of contemporary craft. Water functions as both material and metaphor, shaping form while reflecting transformation, resilience, and continuity. Through large-scale textile installations, woven hair tapestries, and ceramic vessels that hold, anchor, and expand fiber, the exhibition creates a layered environment where structure and movement coexist. Collage works extend this narrative, assembling fragments of image, pattern, and texture into visual stories of cultural memory and self-definition. Together, these works challenge conventional hierarchies of craft and art, honoring the labor, ritual, and innovation embedded in everyday practices while inviting viewers to reconsider what is seen, valued, and preserved.

In a deeply personal inquiry, Will this entanglement ever resolve? unveils Natasha Sachdeva’s layered engagement with the realities of growing up and living within a middle-class family in New Delhi, India. What begins as an inward process of self-discovery and introspection gradually expands into a broader commentary on the ways in which society defines, regulates, and confines women’s bodies—situated within a South Asian context, yet resonant on a universal scale. Her figures—often voluminous, unposed, distorted, and unapologetically raw—challenge conventional ideals of beauty and grace, dismantling ingrained expectations of restraint, decorum, and conformity. Through these forms, the artist asserts an unequivocal right to joy, sensuality, and self-expression at every stage of a woman’s life.