{"data":[{"id":"2294","type":"exhibition","attributes":{"id":2294,"title":"Whitney Biennial 2026","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-08-23T00:00:00.000-04:00","member_start_time":"2026-03-04T00:00:00.000-05:00","member_end_time":"2026-03-07T00:00:00.000-05:00","date_override":"","url":"/exhibitions/2026-biennial","primary_text":"\u003cp class=\"large\"\u003eThe eighty-second edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features work of 56 artists, duos, and collectives that reflects the current moment and examines various forms of relationality, including interspecies kinships, familial relations, geopolitical entanglements, technological affinities, shared mythologies, and infrastructural supports.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e offers a vivid atmospheric survey of contemporary American art shaped by a moment of profound transition. Rather than offering a definitive answer to life today, this Whitney Biennial foregrounds mood and texture, inviting visitors into environments that evoke tension, tenderness, humor, and unease. Together, the works capture the complexity of the present and propose imaginative, unruly, and unexpected forms of coexistence.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003e\u003cstrong\u003eThis exhibition includes a\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/billboard\" data-turbo-frame=\"_top\"\u003e\u003cstrong\u003ebillboard\u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003e\u0026nbsp;across from the Museum’s entrance on Gansevoort Street.\u003c/strong\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e is co-organized by Whitney curators Marcela Guerrero, the DeMartini Family Curator, and Drew Sawyer, the Sondra Gilman Curator of Photography with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.\u003c/p\u003e","primary_media_id":64281,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"\u003cp data-testid=\"headline\"\u003e\u003ca href=\"https://www.nytimes.com/2025/12/15/arts/design/whitney-biennial-56-artists.html?unlocked_article_code=1.808.ZWP2.lB7sPVyl-r88\u0026smid=nytcore-ios-share\"\u003eWhitney Biennial Names 56 Artists to Unwind These ‘Weird Times’—\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2025-05-14T12:24:08.166-04:00","updated_at":"2026-03-06T11:58:22.702-05:00","block_editor":{"data":{"id":"5837","type":"block_editor","attributes":{"id":5837,"exhibition_id":2294,"page_id":null,"created_at":"2025-06-16T12:38:42.410-04:00","updated_at":"2025-06-16T12:38:42.410-04:00","regions":[{"data":{"id":"23690","type":"region","attributes":{"id":23690,"position":1,"columns":12,"block_editor_id":5837,"created_at":"2025-12-15T11:46:08.905-05:00","updated_at":"2026-03-06T11:58:22.532-05:00","region_components":[{"data":{"id":"43524","type":"region_component","attributes":{"id":43524,"component_id":3634,"component_type":"HorizontalRuleComponent","position":1,"region_id":23690,"created_at":"2025-12-15T11:46:08.942-05:00","updated_at":"2026-03-06T11:58:22.549-05:00","component":{"data":{"id":"3634","type":"component","attributes":{"id":3634,"exhibition_id":2294}}}}}}]}}},{"data":{"id":"23691","type":"region","attributes":{"id":23691,"position":2,"columns":12,"block_editor_id":5837,"created_at":"2025-12-15T11:46:08.971-05:00","updated_at":"2026-03-06T11:58:22.559-05:00","region_components":[{"data":{"id":"43525","type":"region_component","attributes":{"id":43525,"component_id":15655,"component_type":"TextComponent","position":1,"region_id":23691,"created_at":"2025-12-15T11:46:09.031-05:00","updated_at":"2026-03-06T11:58:22.570-05:00","component":{"data":{"id":"15655","type":"component","attributes":{"id":15655,"exhibition_id":2294,"text":"\u003cp\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e is presented by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829970/large_Untitled-1.jpg\" style=\" height: 80px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003c!--[if !vml]--\u003eThe exhibition is also sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/833167/large_FondazioneBvlgari_logo-black.jpg\" style=\" height: 70px;\"\u003e\u0026nbsp; \u0026nbsp; \u0026nbsp; \u003cimg\u003e\u003c/p\u003e\u003cp\u003eLeadership support for the 2026 Whitney Biennial is provided by David Cancel, and Stephanie March and Dan Benton.\u003c/p\u003e\u003cp\u003eMajor support is provided by the Adam D. Weinberg Artists First Fund; Marcia Dunn and Jonathan Sobel; The Holly Peterson Foundation; the Kapadia Equity Fund; The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely; and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Sotheby’s.\u003c/p\u003e\u003cp\u003e2026 Biennial Committee Co-Chairs: Sarah Arison, Paul Arnhold and Wes Gordon, Suzanne and Bob Cochran, Salvador Espinoza and Jonathan Rozoff, Amanda and Glenn Fuhrman, Further Forward Foundation, Becky Gochman, Christina Hribar, Stephanie and Tim Ingrassia, Peter H. Kahng, Deepa Kumaraiah and Sean Dempsey, Miyoung Lee and Neil Simpkins, Dawn and David Lenhardt, Sueyun and Gene Locks, George Petrocheilos and Diamantis Xylas, Nancy and Fred Poses, Dr. Jan Siegmund and Dr. Benjamin Maddox, Ron and Ann Pizzuti, Jackson Tang, Teresa Tsai, and Todd White and Cameron Carani.\u003c/p\u003e\u003cp\u003e2026 Biennial Committee: Shelley Fox Aarons and Philip Aarons; Susan and Matthew Blank; Estrellita and Daniel Brodsky; James Keith Brown and Eric Diefenbach; Yolanda Colón-Greenberg and Craig Greenberg; Stephen Dull; Charlotte Feng Ford; Christy and Bill Gautreaux; Elaine Goldman and John Benis; Grace Gould and Jonathan Goldberg; Marieluise Hessel; Judelson Family Foundation; Michèle Gerber Klein; Gina Feldman Love and Steven Feldman; Joel Lubin; Bernard I. Lumpkin and Carmine D. Boccuzzi; Marc S. Solomon, Cindy Levine \u0026amp; Interlaken LLC; The Robert Mapplethorpe Foundation; Jamie Watson in memory of Emmett Watson; George Wells and Manfred Rantner; Casey and Lauren Weyand; and an anonymous donor.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The James Howell Foundation, The Keith Haring Foundation Exhibition Fund and the Trellis Art Fund.\u003c/p\u003e\u003cp\u003eBiennial funding is also provided by endowments created by Emily Fisher Landau, Leonard A. Lauder, and Fern and Lenard Tessler.\u003c/p\u003e\u003cp\u003eCuratorial research and travel for this exhibition were funded by an endowment established by Rosina Lee Yue and Bert A. Lies, Jr., MD.\u003c/p\u003e\u003cp\u003eSupport is also provided by the Marshall Weinberg Fund for Performance, endowed in honor of his parents Anna and Harold Weinberg who taught him the meaning of giving.\u003c/p\u003e\u003cp\u003eThe Whitney Biennial and Hyundai Terrace Commission are a multiyear partnership with Hyundai Motor. The Hyundai Terrace Commission is an annual site-specific installation on the Whitney Museum’s fifth-floor outdoor gallery.\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"23688","type":"region","attributes":{"id":23688,"position":3,"columns":12,"block_editor_id":5837,"created_at":"2025-12-15T04:59:26.401-05:00","updated_at":"2026-03-06T11:58:22.580-05:00","region_components":[{"data":{"id":"43520","type":"region_component","attributes":{"id":43520,"component_id":3633,"component_type":"HorizontalRuleComponent","position":1,"region_id":23688,"created_at":"2025-12-15T04:59:26.439-05:00","updated_at":"2026-03-06T11:58:22.594-05:00","component":{"data":{"id":"3633","type":"component","attributes":{"id":3633,"exhibition_id":2294}}}}}}]}}},{"data":{"id":"23689","type":"region","attributes":{"id":23689,"position":4,"columns":12,"block_editor_id":5837,"created_at":"2025-12-15T04:59:26.454-05:00","updated_at":"2026-03-06T11:58:22.606-05:00","region_components":[{"data":{"id":"43521","type":"region_component","attributes":{"id":43521,"component_id":15654,"component_type":"TextComponent","position":1,"region_id":23689,"created_at":"2025-12-15T04:59:26.475-05:00","updated_at":"2026-03-06T11:58:22.616-05:00","component":{"data":{"id":"15654","type":"component","attributes":{"id":15654,"exhibition_id":2294,"text":"\u003ch2\u003eArtist List\u003c/h2\u003e\u003cdiv class=\"paragraph-column--three\"\u003e\u003cp\u003e\u003cstrong\u003eBasel Abbas \u0026amp; Ruanne Abou-Rahme\u0026nbsp;\u003c/strong\u003e\u003cbr\u003eBasel Abbas \u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1983 in Nicosia, Cyprus\u003cbr\u003eRuanne Abou-Rahme \u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1983 in Boston, MA\u003cbr\u003eLive in Brooklyn, NY and Palestine\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eKelly Akashi\u003c/strong\u003e\u003cbr\u003eBorn 1983 in Los Angeles, CA\u003cbr\u003eLives in Altadena, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eKamrooz Aram\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1978 in Shiraz, Iran\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAsh Arder\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/they)\u003c/span\u003e\u003cbr\u003eBorn 1988 in Muscatawing (Flint, MI)\u003cbr\u003eLives in Waawiyatanong (Detroit, MI)\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eTeresa Baker\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1985 in Watford, City, ND Lives in Livingston MT\u003cbr\u003eMandan/Hidatsa\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSula Bermudez-Silverman\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1993 in New York, NY\u003cbr\u003eLives in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eZach Blas\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1981 in Point Pleasant, WV\u003cbr\u003eLives in Toronto, Canada\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEnzo Camacho \u0026amp; Ami Lien\u003c/strong\u003e\u003cbr\u003eEnzo Camacho \u003cspan class=\"gray\"\u003e(they/them)\u003c/span\u003e\u003cbr\u003eBorn 1985 in Manila, Philippines\u003cbr\u003eAmi Lien \u003cspan class=\"gray\"\u003e(they/them)\u003c/span\u003e\u003cbr\u003eBorn 1987 in Dallas, TX\u003cbr\u003eLive in Berlin, Germany and New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eLeo Castañeda\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1988 in Cali, Colombia\u003cbr\u003eLives in Miami, FL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCFGNY\u0026nbsp;\u003c/strong\u003e(Daniel Chew, Ten Izu, Kirsten Kilponen, and Tin Nguyen)\u003cbr\u003eFounded 2016\u003cbr\u003eBased in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNani Chacon\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1980 in Gallup, NM\u003cbr\u003eLives in Albuquerque, NM\u003cbr\u003eNavajo Nation\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMaia Chao\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1991 in Providence, RI\u003cbr\u003eLives in Philadelphia, PA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJoshua Citarella \u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1987 in New York, NY\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMo Costello\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1989 in Seattle, WA\u003cbr\u003eLives in Athens, GA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eTaína H. Cruz\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1998 in New York, NY\u003cbr\u003eLives in New Haven, CT\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCarmen de Monteflores\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/they)\u003c/span\u003e\u003cbr\u003eBorn 1933 in San Juan, Puerto Rico\u003cbr\u003eLives in Berkeley, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAli Eyal\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1994 in Baghdad, Iraq\u003cbr\u003eLives in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAndrea Fraser\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1965 in Billings, MT\u003cbr\u003eLives in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMariah Garnett\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/they)\u003c/span\u003e\u003cbr\u003eBorn 1980 in Portland, ME\u003cbr\u003eLives in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eIgnacio Gatica\u003c/strong\u003e\u003cbr\u003eBorn 1988 in Santiago, Chile\u003cbr\u003eLives in New York, NY and Santiago, Chile\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJonathan González\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(they/them)\u003c/span\u003e\u003cbr\u003eBorn 1991 in Queens, NY\u003cbr\u003eLives in New York, NY and Philadelphia, PA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEmilie Louise Gossiaux\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(they/them)\u003c/span\u003e\u003cbr\u003eBorn 1989 in New Orleans, LA\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eKainoa Gruspe\u003c/strong\u003e \u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1995 in Louisville, KY\u003cbr\u003eLives in Honolulu, HI\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMartine Gutierrez\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1989 in Berkeley, CA\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSamia Halaby\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1936 in Palestine\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRaven Halfmoon\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1991 in Oklahoma City, OK\u003cbr\u003eLives in Norman, OK\u003cbr\u003eCaddo Nation\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNile Harris with Dyer Rhoads\u003c/strong\u003e\u003cbr\u003eNile Harris \u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1995 in Miami, FL\u003cbr\u003eDyer Rhoads \u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1996 in Portland, ME\u003cbr\u003eLive in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAziz Hazara\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1992 in Wardak, Afghanistan\u003cbr\u003eLives in Berlin, Germany\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMargaret Honda\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1961 in San Diego, CA\u003cbr\u003eLives in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAkira Ikezoe\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1979 in Kochi, Japan\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMao Ishikawa\u003c/strong\u003e \u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1953 in Okinawa under US Administration\u003cbr\u003eLives in Okinawa, Japan\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCooper Jacoby\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him\u003c/span\u003e\u003cspan class=\"gray\"\u003e)\u003c/span\u003e\u003cbr\u003eBorn 1989 in Princeton, NJ\u003cbr\u003eLives in Miami, FL and Paris, France\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eDavid L. Johnson\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1993 in New York, NY\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003ekekahi wahi\u0026nbsp;\u003c/strong\u003e(Sancia Miala Shiba Nash and Drew K. Broderick)\u003cbr\u003eFounded 2020\u003cbr\u003eBased in Honolulu, Kona, Oʻahu, HI\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eYoung Joon Kwak\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(they/them)\u003c/span\u003e\u003cbr\u003eBorn 1984 in Queens, NY\u003cbr\u003eLives in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMichelle Lopez\u003c/strong\u003e \u003cspan class=\"gray\"\u003e(\u003c/span\u003e\u003cspan class=\"gray\"\u003eshe/her)\u003c/span\u003e\u003cbr\u003eBorn 1970 in Bridgeport, CT\u003cbr\u003eLives in Philadelphia, PA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJosé Maceda\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1917 in Manila, Philippines\u003cbr\u003eDied 2004 in Quezon City, Philippines\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAgosto Machado\u003c/strong\u003e \u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn in New York, NY\u003cbr\u003eLives in New York, NY\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eOswaldo Maciá\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1960 in Cartegena de Indias, Colombia\u003cbr\u003eLives in Santa Fe, NM and London, United Kingdom\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eEmilio Martínez Poppe\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1993 in Baltimore, MD\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eIsabelle Frances McGuire\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1994 in Austin, TX\u003cbr\u003eLives in Chicago, IL\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eKimowan Metchewais\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(he/him)\u003c/span\u003e\u003cbr\u003eBorn 1963 in Oxbow, SK, Canada\u003cbr\u003eDied 2011 in Saint Paul, AB, Canada\u003cbr\u003eCree, Cold Lake First Nations\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNour Mobarak\u003c/strong\u003e \u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1985 in Cairo, Egypt\u003cbr\u003eLives in Athens, Greece and Bainbridge Island, WA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eErin Jane Nelson\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1989 in Neenah, WI\u003cbr\u003eLives in Santa Fe, NM\u003c/p\u003e\u003cp\u003e\u003cstrong\u003ePrecious Okoyomon\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(they/them)\u003c/span\u003e\u003cbr\u003eBorn 1993 in London, United Kingdom\u003cbr\u003eLives in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAki Onda\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(they/them)\u003c/span\u003e\u003cbr\u003eBorn 1967 in Tenri, Nara, Japan\u003cbr\u003eLives in Mito, Ibaraki, Japan\u003c/p\u003e\u003cp\u003e\u003cstrong\u003ePat Oleszko\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1947 in Detroit, MI\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eMalcolm Peacock\u003c/strong\u003e\u003cbr\u003eBorn 1994 in Raleigh, NC\u003cbr\u003eLives in Brooklyn, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSarah M. Rodriguez\u003c/strong\u003e\u003cbr\u003eBorn 1984 in Honolulu, HI\u0026nbsp;\u003cbr\u003eLives in Ojo Caliente, NM\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eGabriela Ruiz\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1991 in San Fernando Valley, CA\u003cbr\u003eLives in Los Angeles, CA\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJasmin Sian\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1969 in the Philippines\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJordan Strafer\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1990 in Miami, FL\u003cbr\u003eLives in New York, NY and Athens, Greece\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSung Tieu\u0026nbsp;\u003c/strong\u003e\u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1987 in Hai Duong, Vietnam\u003cbr\u003eLives in Berlin, Germany\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJulio Torres\u003c/strong\u003e\u003cbr\u003eBorn 1987 in San Salvador, El Salvador\u003cbr\u003eLives in New York, NY\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAnna Tsouhlarakis\u003c/strong\u003e \u003cspan class=\"gray\"\u003e(she/her)\u003c/span\u003e\u003cbr\u003eBorn 1977 in Lawrence, KS\u003cbr\u003eLives in Boulder, CO\u003cbr\u003eNavajo Nation and Creek\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eJohanna Unzueta\u003c/strong\u003e\u003cbr\u003eBorn 1974 in Santiago, Chile\u003cbr\u003eLives in Berlin, Germany and New York, NY\u003c/p\u003e\u003c/div\u003e"}}}}}}]}}},{"data":{"id":"23847","type":"region","attributes":{"id":23847,"position":5,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.217-05:00","updated_at":"2026-03-06T11:58:22.623-05:00","region_components":[{"data":{"id":"43911","type":"region_component","attributes":{"id":43911,"component_id":3660,"component_type":"HorizontalRuleComponent","position":1,"region_id":23847,"created_at":"2026-03-05T17:04:02.262-05:00","updated_at":"2026-03-06T11:58:22.633-05:00","component":{"data":{"id":"3660","type":"component","attributes":{"id":3660,"exhibition_id":2294}}}}}}]}}},{"data":{"id":"23848","type":"region","attributes":{"id":23848,"position":6,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.277-05:00","updated_at":"2026-03-06T11:58:22.642-05:00","region_components":[{"data":{"id":"43912","type":"region_component","attributes":{"id":43912,"component_id":161,"component_type":"JumplinkComponent","position":1,"region_id":23848,"created_at":"2026-03-05T17:04:02.324-05:00","updated_at":"2026-03-06T11:58:22.651-05:00","component":{"data":{"id":"161","type":"component","attributes":{"id":161,"exhibition_id":2294,"text":"Performances"}}}}}}]}}},{"data":{"id":"23849","type":"region","attributes":{"id":23849,"position":7,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.359-05:00","updated_at":"2026-03-06T11:58:22.658-05:00","region_components":[{"data":{"id":"43913","type":"region_component","attributes":{"id":43913,"component_id":15757,"component_type":"TextComponent","position":1,"region_id":23849,"created_at":"2026-03-05T17:04:02.409-05:00","updated_at":"2026-03-06T11:58:22.668-05:00","component":{"data":{"id":"15757","type":"component","attributes":{"id":15757,"exhibition_id":2294,"text":"\u003ch2\u003ePerformances\u003c/h2\u003e"}}}}}}]}}},{"data":{"id":"23850","type":"region","attributes":{"id":23850,"position":8,"columns":12,"block_editor_id":5837,"created_at":"2026-03-05T17:04:02.435-05:00","updated_at":"2026-03-06T11:58:22.676-05:00","region_components":[{"data":{"id":"43914","type":"region_component","attributes":{"id":43914,"component_id":287,"component_type":"EventsComponent","position":1,"region_id":23850,"created_at":"2026-03-05T17:04:02.508-05:00","updated_at":"2026-03-06T11:58:22.684-05:00","component":{"data":{"id":"287","type":"component","attributes":{"id":287,"exhibition_id":2294}}}}}}]}}}]}}}}},{"id":"2308","type":"exhibition","attributes":{"id":2308,"title":"High Wire: Calder’s Circus at 100","start_time":"2025-10-18T00:00:00.000-04:00","end_time":"2026-03-09T00:00:00.000-04:00","member_start_time":"2025-10-16T00:00:00.000-04:00","member_end_time":"2025-10-17T00:00:00.000-04:00","date_override":"","url":"/exhibitions/calders-circus","primary_text":"\u003cp class=\"large\"\u003eIn 1926 as a young American artist living in Paris, \u003ca href=\"/artists/215\"\u003eAlexander Calder\u003c/a\u003e (1898–1976) began making what is today considered his most formative work of art: \u003ca href=\"/collection/series/5488\"\u003e\u003cem\u003eCalder’s Circus\u003c/em\u003e\u003c/a\u003e. Calder created a miniature spectacle of circus animals and characters that he would enact for live audiences, complete with handmade stage props, music, and lighting. Performances of the multiact \u003cem\u003eCalder’s Circus\u003c/em\u003e, or \u003cem\u003eCirque Calder\u003c/em\u003e in French, sometimes lasted as long as two hours and drew audiences from the city’s avant-garde, including fellow artists \u003ca href=\"/artists/1715\"\u003eMarcel Duchamp\u003c/a\u003e, Joan Miró, Piet Mondrian, and \u003ca href=\"/artists/954\"\u003eIsamu Noguchi\u003c/a\u003e. Calder would perch on the floor manipulating the figures—each crafted from ordinary materials, such as wire, wood, metal, cork, fabric, and string—which, through his mechanical inventiveness and the pliability of their bodies, would fly through the air, swallow swords, and accomplish other daring feats. Like many artists at the time, Calder was fascinated by the circus, and he relished not just its broad popular appeal and dramatic risk-taking, but also its structure and kinetics: “I love the mechanics of the thing—and the vast space—and the spotlight.”\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eHigh Wire: Calder’s Circus at 100\u003c/em\u003e marks the centennial anniversary of this iconic work by bringing it together with other examples of Calder’s circus-themed wire sculptures and drawings, related archival material, and early examples of his abstract sculptures. For Calder, the circus offered a dynamic subject through which he could explore the core ideas of balance and movement that would define his artwork from 1931 onward, especially his invention of the “mobile” sculpture—an origin story for an artist who once claimed, “I think best in wire.”\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eHigh Wire: Calder’s Circus at 100\u0026nbsp;\u003c/em\u003eis co-curated by Jennie Goldstein, Marion Boulton “Kippy” Stroud Curator of the Collection, and Roxanne Smith, Jennifer Rubio Assistant Curator of the Collection.\u003c/p\u003e\u003cp\u003e\u003cem\u003eHigh Wire: Calder’s Circus at 100\u0026nbsp;\u003c/em\u003eis sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/832817/large_LVMH_Logotype_Simple_N.jpg\" style=\" height: 40px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/824938/large_Delta_c_r__2_.jpg\" style=\" height: 25px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Kenneth C. Griffin and Griffin Catalyst, the Jon and Mary Shirley Foundation, Stephanie March and Dan Benton, and Anne-Cecilie Engell Speyer.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Paul Arnhold and Wes Gordon, Jill and Darius Bikoff, Nancy and Fred Poses, and a gift in honor of June and Paul Schorr.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Laurie M. Tisch Illumination Fund.\u003c/p\u003e\u003cp\u003eAdditional support is provided by The Lipman Family Foundation and an anonymous donor.\u003c/p\u003e","primary_media_id":64307,"override_media_id":null,"sign_media_id":63662,"feature_id":110,"artwork_series_id":null,"installation_series_id":2659,"perspective_series_id":null,"press_highlights":"\u003cp lang=\"EN-US\"\u003e“... one of the most joyous shows in town.” —\u003ca href=\"https://hyperallergic.com/1054828/four-new-york-city-art-shows-to-see-november-11-2025/\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eHyperallergic\u003c/a\u003e\u0026nbsp;\u003c/p\u003e\u003cp lang=\"EN-US\"\u003e“A century on, [Calder’s] Circus still stands.” —\u003ca href=\"https://news.artnet.com/art-world/alexander-calder-circus-100-whitney-2708618\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eArtnet\u003c/a\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e“... few artworks have captured the hearts of art lovers of all ages more than Alexander Calder’s humble yet expansive masterpiece ...” —\u003ca href=\"https://www.harpersbazaar.com/fashion/a69266875/bode-goes-the-calder-circus-whitney-museum-collaboration/\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eHarper’s Bazaar\u003c/a\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e“...these materials trace the artist’s spontaneous spirit and humor...” —\u003ca href=\"https://galeriemagazine.com/calders-circus-is-back-at-the-whitney-with-a-special-bode-capsule-collection/\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eGalerie Magazine\u003c/a\u003e\u0026nbsp;\u003c/p\u003e\u003cp lang=\"EN-US\"\u003e“La expresión del buen humor resulta imperecedera.” —\u003ca href=\"https://www.lavanguardia.com/cultura/20251020/11175147/erase-vez-circo-calder-nueva-york-whitney-museum.html\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eLa Vanguardia\u003c/a\u003e \u0026nbsp;\u003c/p\u003e\u003cp\u003e“...Calder’s Circus is for everyone.” —\u003ca href=\"https://hyperallergic.com/1056451/calder-circus-is-for-everyone-whitney-museum/\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eHyperallergic\u003c/a\u003e \u0026nbsp;\u003c/p\u003e\u003cp lang=\"EN-US\"\u003e“... a jewel of the museum’s collection ...” —\u003ca href=\"https://www.anothermag.com/design-living/16751/things-to-do-november-2025-new-exhibitions-films-theatre-london-new-york\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eAnOther Magazine\u003c/a\u003e \u0026nbsp;\u003c/p\u003e\u003cp lang=\"EN-US\"\u003e“... offers audiences a rare opportunity to see the full scope of a piece that continues to resonate ...” —\u003ca href=\"https://untitled-magazine.com/a-century-in-motion-calders-circus-at-the-whitney/\" target=\"_blank\" rel=\"noreferrer noopener\"\u003eUntitled Magazine\u003c/a\u003e\u0026nbsp;\u003c/p\u003e","audio_description":"\u003cp class=\"large\"\u003eListen to a playlist inspired by \u003cem\u003eCalder’s Circus\u003c/em\u003e created by artist, composer, and musician \u003ca href=\"https://gryphonrue.bandcamp.com/album/i-keep-my-diamond-necklace-in-a-pond-of-sparkling-water\"\u003eGryphon Rue\u003c/a\u003e. Rue writes:\u003c/p\u003e\u003cp class=\"large\"\u003e“Drawing from the history of Calder’s engagement with sound, this playlist expands the narrative of vernacular music in \u003cem\u003eCirque Calder (Calder’s Circus)\u003c/em\u003e, bringing popular tunes and circus marches into a broader dialogue with the artist’s appetite for new sounds in cosmic, avant-garde music. Calder enjoyed lifelong friendships with composers, particularly Edgard Varèse, ‘godfather of electronic music,’ as well as a younger generation that included Pierre Boulez, John Cage, and Earle Brown. Many composers were influenced by Calder’s mobiles, which profoundly impacted the music of the post-World War II classical avant-garde. Music was also an essential part of \u003cem\u003eCirque Calder\u003c/em\u003e. Specific 78 rpm shellac records were played during each circus act, and Calder not only ventriloquized for the performers but also employed makeshift whistles, horns, harmonicas, and percussion of his own design. Sound plays a vital role in many of his sculptures as well. The story of Calder and sound continues today, through new strains of open-form works, structured improvisation, and abstract musical collage.”\u003c/p\u003e","videos_description":"","created_at":"2025-07-22T11:04:44.441-04:00","updated_at":"2026-03-06T09:44:37.647-05:00","block_editor":{"data":{"id":"5885","type":"block_editor","attributes":{"id":5885,"exhibition_id":2308,"page_id":null,"created_at":"2025-07-22T11:04:44.438-04:00","updated_at":"2025-07-22T11:04:44.438-04:00","regions":[]}}}}},{"id":"1079","type":"exhibition","attributes":{"id":1079,"title":"G.H. Hovagimyan: Cocktail Party","start_time":"2001-11-01T00:00:00.000-05:00","end_time":"2001-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2001","url":"/exhibitions/gh-hovagimyan","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8239\"\u003eG.H. Hovagimyan\u003c/a\u003e’s \u003cem\u003eCocktail Party\u003c/em\u003e features a series of synthetic party conversations delivered by computer-generated voices of various pitches and tones. The conversations take place across four virtual rooms: the den, garage, studio, and kitchen. When the work launches, users are randomly assigned to a room but can move to another by clicking “Enter Project” again on the landing page.\u003c/p\u003e\u003cp class=\"large\"\u003eThe work captures a machine’s attempt to simulate human social interaction, exploring the dynamics of small talk and chatter typical of parties and social gatherings. The conversations vary widely in content, from flirtation, arguments, ramblings, and insults to critical discussion of artworks and the role of the artist in a capitalist society. \u0026nbsp;\u003c/p\u003e","primary_media_id":56189,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-08-23T09:58:11.858-04:00","updated_at":"2026-03-05T17:34:19.605-05:00","block_editor":{"data":{"id":"3669","type":"block_editor","attributes":{"id":3669,"exhibition_id":1079,"page_id":null,"created_at":"2025-06-16T12:38:18.595-04:00","updated_at":"2025-06-16T12:38:18.595-04:00","regions":[{"data":{"id":"23851","type":"region","attributes":{"id":23851,"position":1,"columns":12,"block_editor_id":3669,"created_at":"2026-03-05T17:15:17.128-05:00","updated_at":"2026-03-05T17:34:19.509-05:00","region_components":[{"data":{"id":"43915","type":"region_component","attributes":{"id":43915,"component_id":15758,"component_type":"TextComponent","position":1,"region_id":23851,"created_at":"2026-03-05T17:15:17.248-05:00","updated_at":"2026-03-05T17:34:19.517-05:00","component":{"data":{"id":"15758","type":"component","attributes":{"id":15758,"exhibition_id":1079,"text":"\u003cp class=\"large\"\u003eAs an internet and new media pioneer, \u003cstrong\u003eG.H. Hovagimyan\u003c/strong\u003e (b. 1950; Plymouth, Massachusetts) created projects ranging from hypertext works to digital performance art, interactive installations, and HD video. His works have been exhibited at the Museum of Modern Art, New York; the Massachusetts Museum of Contemporary Art, North Adams; the Whitney Museum of American Art, New York; the New Museum, New York; the Walker Art Center, Minneapolis; Jeu de Paume, Paris; Musée d’Art Contemporain, Marseille; Musée d’Art Contemporain, Lyon; Centre Pompidou, Paris; Lincoln Center, New York; Institute for Contemporary Art Yerevan, Armenia; the Clocktower, New York; the Kitchen, New York; the Alternative Museum (1975–2000), New York; Eyebeam, New York; the MIT List Visual Arts Center, Cambridge, Massachusetts; La Gaîté Lyrique, Paris; Württembergischer Kunstverein, Stuttgart, Germany; STEIM Institute (1969–2020), Amsterdam; the National Centre for Contemporary Art, Moscow; Postmasters Gallery (1984–2025), New York; and the Pace University Digital Gallery (2003–13).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1108","type":"exhibition","attributes":{"id":1108,"title":"Brody Condon: Fake Screenshot Contest","start_time":"2003-11-01T00:00:00.000-05:00","end_time":"2003-11-30T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"November 2003","url":"/exhibitions/brody-condon","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eFake Screenshot Contest\u003c/em\u003e by \u003ca href=\"/artists/9181\"\u003eBrody Condon\u003c/a\u003e was a viral competition that invited participants to submit screenshots to symbolize the completion of a game, celebrate the mastery of a challenging level, or simply prove the existence of new titles in the market. Using techniques such as collaging, overlaying, and retouching, Condon made it difficult to tell whether the images from video games captured actual moments or were deliberately created, modified, or manipulated with digital tools. Reflecting on everyday achievements and the culture of the fantasy genre, Condon’s work blurred the boundary between the game world and the real world and questioned the line between representation of reality and artistic forgery.\u003c/p\u003e","primary_media_id":56560,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-25T19:50:02.414-04:00","updated_at":"2026-03-05T14:22:22.580-05:00","block_editor":{"data":{"id":"3723","type":"block_editor","attributes":{"id":3723,"exhibition_id":1108,"page_id":null,"created_at":"2025-06-16T12:38:20.468-04:00","updated_at":"2025-06-16T12:38:20.468-04:00","regions":[{"data":{"id":"23846","type":"region","attributes":{"id":23846,"position":1,"columns":12,"block_editor_id":3723,"created_at":"2026-03-05T14:22:11.184-05:00","updated_at":"2026-03-05T14:22:22.538-05:00","region_components":[{"data":{"id":"43901","type":"region_component","attributes":{"id":43901,"component_id":15752,"component_type":"TextComponent","position":1,"region_id":23846,"created_at":"2026-03-05T14:22:11.201-05:00","updated_at":"2026-03-05T14:22:22.547-05:00","component":{"data":{"id":"15752","type":"component","attributes":{"id":15752,"exhibition_id":1108,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eBrody Condon\u003c/strong\u003e (b. 1974, Tuxpan, Mexico) facilitates and documents game-like group encounters that experientially probe dissociative phenomena. His work has been presented at the Athens Biennale (2018); Berlin Biennale (2016); Stroom den Haag, Netherlands; Center for Contemporary Arts, Glasgow; Momentum: Nordic Biennale of Contemporary Art (2015), Moss, Norway; Edinburgh Art Festival; MoMA PS1’s \u003cem\u003eGreater New York\u003c/em\u003e; Hammer Museum, Los Angeles; New Museum, New York; Pace Wildenstein Gallery, New York; and the \u003ca href=\"/exhibitions/biennial-2004\"\u003e2004 Whitney Biennial\u003c/a\u003e, among others. He has lectured and taught workshops internationally at institutions including Yale University, New Haven, Connecticut; Royal Institute of Art Stockholm; Royal College of Art, London; Hammer Museum; School of Visual Arts, New York; The New School, New York; Columbia University, New York; Baltic Centre for Contemporary Art, Gateshead, United Kingdom; Carnegie Mellon University, Pittsburgh; and the Museum of Modern Art, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1130","type":"exhibition","attributes":{"id":1130,"title":"Adrianne Wortzel: Eliza Redux Gate Page","start_time":"2005-08-01T00:00:00.000-04:00","end_time":"2005-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"August 2005","url":"/exhibitions/adrianne-wortzel","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/10108\"\u003eAdrianne Wortzel\u003c/a\u003e’s Gate Page features stills and a short video documenting a psychoanalytic session between a robot and a human in which the two take turns playing the roles of psychoanalyst and patient. It references Wortzel’s work \u003cem\u003eThe Veils of Transference\u0026nbsp;\u003c/em\u003e(2005), a longer therapy session between a robot and human that exploits the human’s wish to be robotic. The robot follows pre-scripted “gestures” executed remotely by a “puppeteer” and is programmed to change the volume, pace, and pitch of its voice according to the dialogue. The Gate Page provides a portal to Wortzel’s \u003cem\u003eEliza Redux\u003c/em\u003e (2008–9), a robotic work made in collaboration with Bob Schneider and Michael Schneider. Referencing Joseph Weizenbaum’s chatbot Eliza (1964–67), which impersonates a Rogerian psychotherapist, \u003cem\u003eELIZA Redux\u0026nbsp;\u003c/em\u003efeatured three robots with distinctive psychoanalytic practices—Freudian, Jungian, and Lacanian. The three robots, resembling monkey skulls, are positioned on a tree-like branch in a “therapeutic” control center; visitors to the website could sign up for five-minute private sessions with them. Together, Wortzel’s works take a closer look at how simple AI scripts create illusions of understanding and reveal patterns in psychoanalytic approaches.\u003c/p\u003e","primary_media_id":56626,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-02T20:46:20.470-04:00","updated_at":"2026-03-05T14:04:06.184-05:00","block_editor":{"data":{"id":"3765","type":"block_editor","attributes":{"id":3765,"exhibition_id":1130,"page_id":null,"created_at":"2025-06-16T12:38:21.861-04:00","updated_at":"2025-06-16T12:38:21.861-04:00","regions":[{"data":{"id":"23845","type":"region","attributes":{"id":23845,"position":1,"columns":12,"block_editor_id":3765,"created_at":"2026-03-05T13:50:48.304-05:00","updated_at":"2026-03-05T14:04:06.160-05:00","region_components":[{"data":{"id":"43898","type":"region_component","attributes":{"id":43898,"component_id":15751,"component_type":"TextComponent","position":1,"region_id":23845,"created_at":"2026-03-05T13:50:48.319-05:00","updated_at":"2026-03-05T14:04:06.172-05:00","component":{"data":{"id":"15751","type":"component","attributes":{"id":15751,"exhibition_id":1130,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAdrianne Wortzel\u003c/strong\u003e (b. 1941; Brooklyn, New York) has explored themes of otherness, identity, in pioneering telerobotic performance productions, net-based art, videos, kinetic objects, and algorithmically generated artist’s books. She studied under artists \u003ca href=\"/artists/157\"\u003eLouise Bourgeois\u003c/a\u003e, \u003ca href=\"/artists/359\"\u003eBurgoyne Diller\u003c/a\u003e, \u003ca href=\"/artists/402\"\u003eJimmy Ernst\u003c/a\u003e, and \u003ca href=\"/artists/1084\"\u003eAd Reinhardt\u003c/a\u003e at Brooklyn College. Her work has been exhibited nationally and internationally in dozens of solo and group exhibitions at venues including Moderna Museet, Stockholm; the Ars Electronica Festival, Linz, Austria; the MIT List Visual Arts Center, Cambridge, Massachusetts; the San Jose Museum of Art, California; the Stamford Museum and Nature Center, Connecticut; and the Whitney Museum of American Art, New York. Wortzel has received support and awards from the Robert Rauschenberg Foundation (1990), the Franklin Furnace FUND for Performance Art (2003), the National Science Foundation (2001), the New York Foundation for the Arts (1981), and the New York State Council on the Arts (2006), among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1134","type":"exhibition","attributes":{"id":1134,"title":"Simon Goldin + Jakob Senneby: Flack Attack","start_time":"2005-12-01T00:00:00.000-05:00","end_time":"2005-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"December 2005","url":"/exhibitions/goldin-senneby","primary_text":"\u003cp class=\"large\"\u003eWith their Gate Page, \u003ca href=\"/artists/14410\"\u003eGoldin+Senneby\u003c/a\u003e (founded 2004, Stockholm, Sweden) explored the participatory production of a magazine in \u003cem\u003eThe Port\u003c/em\u003e, a community-driven space they initiated inside the online 3D world \u003cem\u003eSecond Life\u003c/em\u003e. The space was accessible to \u003cem\u003eSecond Life\u003c/em\u003e inhabitants, as well as potentially all internet users, who were invited to contribute articles, images, and comments to the magazine on a Wiki-like platform within \u003cem\u003eThe Port\u003c/em\u003e. Over the course of December 2005, editorial meetings were held every Tuesday, Thursday, and Sunday and documented with minutes and images published through the Gate Page. What resulted was a print-on-demand magazine titled \u003cem\u003eFlack Attack\u003c/em\u003e \u003cem\u003e(on Autonomy)\u003c/em\u003e, which examined networked public spheres and the paradoxes of autonomy within commodified digital environments. As both a spatial and networked experiment, \u003cem\u003eFlack Attack\u003c/em\u003e transformed magazine production into a process-driven, participatory platform that considered authorship, community, and creative autonomy in the age of social software.\u003ca href=\"https://web.archive.org/web/20070501094351/http:/www.theport.tv/wp/wordpress/\"\u003e\u003c/a\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://web.archive.org/web/20070501094351/http:/www.theport.tv/wp/wordpress/\"\u003etheport.tv\u003c/a\u003e\u003cbr\u003e\u003ca href=\"https://web.archive.org/web/20060206084902/http://www.objectsofvirtualdesire.com/\"\u003eobjectsofvirtualdesire.com\u003c/a\u003e\u003cbr\u003e\u003ca href=\"https://web.archive.org/web/20061014180100/http://www.flackattack.org/faw/index.php?title=Main_Page\"\u003eflackattack.org\u003c/a\u003e\u003c/p\u003e\u003cp\u003eMany sites linked throughout this project are no longer online, but are available in the Internet Archive. Further description of the project can be found on \u003ca href=\"https://goldinsenneby.com/publications/flack-attack/\"\u003egoldinsenneby.com\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56631,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-10-03T09:12:55.259-04:00","updated_at":"2026-03-05T13:45:46.884-05:00","block_editor":{"data":{"id":"3773","type":"block_editor","attributes":{"id":3773,"exhibition_id":1134,"page_id":null,"created_at":"2025-06-16T12:38:21.969-04:00","updated_at":"2025-06-16T12:38:21.969-04:00","regions":[{"data":{"id":"23841","type":"region","attributes":{"id":23841,"position":1,"columns":12,"block_editor_id":3773,"created_at":"2026-03-05T12:39:33.699-05:00","updated_at":"2026-03-05T13:45:46.833-05:00","region_components":[{"data":{"id":"43895","type":"region_component","attributes":{"id":43895,"component_id":15749,"component_type":"TextComponent","position":1,"region_id":23841,"created_at":"2026-03-05T12:39:33.861-05:00","updated_at":"2026-03-05T13:45:46.842-05:00","component":{"data":{"id":"15749","type":"component","attributes":{"id":15749,"exhibition_id":1134,"text":"\u003cp class=\"large\"\u003eFounded in 2004, Goldin+Senneby—Stockholm-based artists \u003cstrong\u003eSimon Goldin\u003c/strong\u003e (b. 1971; Umeå, Sweden) and \u003cstrong\u003eJakob Senneby\u003c/strong\u003e (b. 1981; Stockholm, Sweden)—have explored the structural correspondences between conceptual art and finance capital. Their works include the ghostwritten detective novel \u003cem\u003eHeadless\u003c/em\u003e (2007–15), about an offshore company in the Bahamas; \u003cem\u003eEternal Employment\u0026nbsp;\u003c/em\u003e(2022),\u003cem\u003e\u0026nbsp;\u003c/em\u003ea proposal for a job at a train station; and \u003cem\u003eFlare-Up / Flare-Up\u003c/em\u003e (2025), an exploration of the bodily experiences of an autoimmune disease. They have had solo exhibitions at Tensta konsthall, Stockholm; Artspace Aoteaora, Auckland; Kadist, Paris; the Power Plant, Toronto; NOME, Berlin; and the MIT List Visual Arts Center, Cambridge, Massachusetts. Their work has been included in the Eleventh Gwangju Biennale (2016), Thirteenth Istanbul Biennial (2013), Manifesta 9 (2012); and the Twenty-Eighth São Paulo Biennial (2008). They are represented in the collections of Moderna Museet, Stockholm; Centre Pompidou, Paris; and the Museum of Modern Art, New York.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2422","type":"exhibition","attributes":{"id":2422,"title":"Hyundai Terrace Commission: Kelly Akashi","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-08-23T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/kelly-akashi","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eHyundai Terrace Commission: Kelly Akashi\u003c/em\u003e, is a site-specific presentation by Los Angeles based artist Kelly Akashi on the Museum’s fifth-floor outdoor gallery and is a part of \u003ca href=\"/exhibitions/2026-Biennial\"\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e\u003c/a\u003e. \u0026nbsp;The commission brings together a new sculptural installation, steel relief, works on paper, and an outdoor-screen animation across the Whitney’s terrace and adjacent spaces.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eMonument (Altadena)\u0026nbsp;\u003c/em\u003estands as a testament to the widespread losses suffered in Altadena, California, in the Eaton Fire in January 2025. After Kelly Akashi’s home and studio burned, the chimney was the only structure left standing. She worked with a mason to rebuild it piece by piece, alongside a reconstruction of her home’s walkway, in luminous glass brick.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eAkashi made\u0026nbsp;\u003cem\u003eInheritance (Distressed)\u0026nbsp;\u003c/em\u003eusing one of her grandmother’s doilies that she saved from a family garage sale but was later lost in the Eaton Fire. Here the delicate form of the doily is cut into Cor-Ten steel, a material linked to Minimalist sculpture and its art-historical associations with masculinity. The work explores the ways that artists—especially women—inherit and grapple with artistic and familial histories.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eHyundai Terrace Commission: Kelly Akashi\u003c/em\u003e is organized by Marcela Guerrero, DeMartini Family Curator, and Drew Sawyer, Sondra Gilman Curator of Photography, with Beatriz Cifuentes, Biennial Curatorial Assistant, and Carina Martinez, Rubio Butterfield Family Fellow.\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cem\u003eHyundai Terrace Commission: Kelly Akashi\u0026nbsp;\u003c/em\u003eis part of a multiyear partnership with Hyundai Motor in support of an annual site-specific installation on the Whitney Museum's fifth-floor outdoor gallery.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829970/large_Untitled-1.jpg\" style=\" height: 80px;\"\u003e\u003c/p\u003e","primary_media_id":64632,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":2662,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2026-02-25T16:42:25.390-05:00","updated_at":"2026-03-03T14:48:59.012-05:00","block_editor":{"data":{"id":"5989","type":"block_editor","attributes":{"id":5989,"exhibition_id":2422,"page_id":null,"created_at":"2026-02-25T16:42:25.387-05:00","updated_at":"2026-02-25T16:42:25.387-05:00","regions":[]}}}}},{"id":"2324","type":"exhibition","attributes":{"id":2324,"title":"Mabel Dwight: Cool Head, Warm Heart","start_time":"2026-02-20T00:00:00.000-05:00","end_time":"2026-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Through Sept","url":"/exhibitions/mabel-dwight","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/388\"\u003eMabel Dwight\u0026nbsp;\u003c/a\u003e(1876–1955) wrote that keeping “a cool head and a warm heart” was essential to making art that would be a “living influence on the world.” Dwight came to New York at the turn of the century as an illustrator and later fell in with the downtown artists who frequented the Whitney Studio Club, a precursor to the Museum. She ultimately found her voice in the swooping lines and seamless gradients of lithography. This democratic print medium became her primary vehicle for portraying her constant subject: the people and places of New York.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eDwight’s self-described “socialist” vision of the world was of dignity across the socio-economic divides. Her crowd scenes depict individuals—usually rendered with a gently curving stroke, dramatic lighting, and delicate highlights— each taking part in a greater whole. Her intimate portraits offer uniquely expressive faces, and her overtly political images are as theatrical as her vision of the stage. All her subjects, whether selling balloons, strolling home, or waiting for the day to pass, possess the inner glow of what Dwight called “the stuff of life.” The life in Dwight’s prints came from her own—she spent her free time roaming the city, from Harlem to Staten Island, sketching in a notebook hidden inside her jacket. Back at her apartment, Dwight would revise her images and then carefully transfer them to a stone or a zinc plate, from which multiple impressions could be printed and inexpensively made available to the public.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eMabel Dwight: Cool Head, Warm Heart\u003c/em\u003e is curated by Dan Nadel, Steven and Ann Ames Curator of Drawings and Prints, Whitney Museum of American Art, with Eli Harrison, Curatorial Fellow, Whitney Museum of American Art.\u003c/p\u003e","primary_media_id":64192,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-12-18T01:36:54.793-05:00","updated_at":"2026-03-03T13:41:41.139-05:00","block_editor":{"data":{"id":"5951","type":"block_editor","attributes":{"id":5951,"exhibition_id":2324,"page_id":null,"created_at":"2025-12-18T10:29:59.839-05:00","updated_at":"2025-12-18T10:29:59.839-05:00","regions":[]}}}}},{"id":"2415","type":"exhibition","attributes":{"id":2415,"title":"Memo Akten \u0026amp; Katie Hofstadter: The Thinking Ocean","start_time":"2026-02-03T00:00:00.000-05:00","end_time":"2027-02-03T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2026","url":"/exhibitions/the-thinking-ocean","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe Thinking Ocean\u003c/em\u003e by Memo Akten and Katie Hofstadter is part of the artists’ series Cosmosapience, and simulates a dynamic body of water, fluctuating between the physics of fluids and the logic of code. Viewers can navigate a seemingly organic underwater scene, with drifting clouds of particulate matter and swirls of bubbles. The procedurally constructed environment becomes increasingly abstracted, morphing into patterns reminiscent of organic cell structures, circuitry, and code. Currents generated by the movement of a faintly visible, abstract, humanlike form create the perception of the ocean as an embodied presence. The shift between fluid dynamics and computation exposes oceans and computers as expressions of the same underlying principles—systems that can store and transmit information and flow. Recent research has shown that Navier-Stokes equations, which govern the movement of fluids like water and air, can in principle perform any computation that a digital computer is able to. \u003cem\u003eThe Thinking Ocean\u003c/em\u003e highlights our increasing bias toward granting agency to machines that mimic human behavior, while failing to notice the complex computations unfolding in natural systems surrounding us. The work is accompanied by a voice reciting a non-linear poem that is dynamically generated in real time.\u003c/p\u003e\u003cp class=\"large\"\u003eAlexander Whitley, choreography, performance, and motion capture; Paige Emery, music and soundscapes; Niklas Niehus, WebGPU consultant and developer; and Milana Aernova, studio assistant. Developed in dialogue with researchers at the Scripps Institution of Oceanography’s SOARS Lab (Scripps Ocean-Atmosphere Research Simulator).\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe Thinking Ocean\u003c/em\u003e utilizes the WebGPU API, which requires iOS 26 or MacOS 26 or later on Apple devices.\u003c/p\u003e","primary_media_id":64312,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2026-01-16T10:50:26.567-05:00","updated_at":"2026-03-03T12:39:47.813-05:00","block_editor":{"data":{"id":"5978","type":"block_editor","attributes":{"id":5978,"exhibition_id":2415,"page_id":null,"created_at":"2026-01-16T10:50:26.553-05:00","updated_at":"2026-01-16T10:50:26.553-05:00","regions":[{"data":{"id":"23763","type":"region","attributes":{"id":23763,"position":1,"columns":12,"block_editor_id":5978,"created_at":"2026-01-21T14:26:09.525-05:00","updated_at":"2026-03-03T12:39:47.753-05:00","region_components":[{"data":{"id":"43670","type":"region_component","attributes":{"id":43670,"component_id":3650,"component_type":"HorizontalRuleComponent","position":1,"region_id":23763,"created_at":"2026-01-21T14:26:09.542-05:00","updated_at":"2026-03-03T12:39:47.772-05:00","component":{"data":{"id":"3650","type":"component","attributes":{"id":3650,"exhibition_id":2415}}}}}}]}}},{"data":{"id":"23764","type":"region","attributes":{"id":23764,"position":2,"columns":12,"block_editor_id":5978,"created_at":"2026-01-21T14:26:09.551-05:00","updated_at":"2026-03-03T12:39:47.785-05:00","region_components":[{"data":{"id":"43671","type":"region_component","attributes":{"id":43671,"component_id":15695,"component_type":"TextComponent","position":1,"region_id":23764,"created_at":"2026-01-21T14:26:09.561-05:00","updated_at":"2026-03-03T12:39:47.794-05:00","component":{"data":{"id":"15695","type":"component","attributes":{"id":15695,"exhibition_id":2415,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMemo Akten \u0026amp; Katie Hofstadter \u003c/strong\u003eare interdisciplinary artists and researchers whose work investigates the entanglements of technology, consciousness, embodiment, and culture. Together, their collaborative research and practice explore how emerging technologies—particularly AI and data systems—interact with the embodied, emotional, and ecological dimensions of human experience.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eMemo Akten\u003c/strong\u003e (b. 1975, Istanbul, Turkey) is an artist, musician, and researcher whose practice bridges machine learning, consciousness, perception, and spirituality. He is a pioneer in artistic explorations of Deep Neural Networks and a recipient of the Prix Ars Electronica Golden Nica (2013). His works have been exhibited worldwide, from the Shanghai Ming Contemporary Art Museum and the Moscow Museum of Modern Art to the Grand Palais in Paris, the Venice Biennale.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eKatie Hofstadter\u003c/strong\u003e (b. 1981, Macon, Georgia) is a multidisciplinary artist, writer, and curator whose work investigates the complex relationships between embodiment, consciousness, and technologically mediated imagination. Her projects have been exhibited worldwide, and her writing appears in publications like Flash Art, BOMB, and The Bulletin of Atomic Scientists. She is co-founder of global public art campaigns such as the ARORA network and the Climate Clock in NYC.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2423","type":"exhibition","attributes":{"id":2423,"title":"Leo Castañeda: Camoflux Recall Grotto","start_time":"2026-03-04T00:00:00.000-05:00","end_time":"2027-03-03T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2026","url":"/exhibitions/camoflux-recall-grotto","primary_text":"\u003cp class=\"large\"\u003eCommissioned for the \u003ca href=\"/exhibitions/2026-biennial\"\u003e2026 edition of the Whitney Biennial\u003c/a\u003e, Leo Castañeda’s \u003cem\u003eCamoflux Recall Grotto\u003c/em\u003e is a web-based game that prompts players to cultivate a garden in a primordial landscape. Inspired by the Brazilian Amazon forest and South Florida Everglades, as well as works by Colombian artists Maria Thereza Negreiros, Ever Astudillo, and Alfonso Quijano, \u003cem\u003eCamoflux Recall Grotto\u003c/em\u003e challenges traditional gameplay. It resists the typical patterns of rapid progression by simulating a meditative, cozy loop when there are few seeds to cultivate and speeding up when the organisms multiply beyond sustainability. Assuming the perspective of an organic drone, the player traverses the surreal environment collecting “liquid turbulence” (water) and “electromagnetic intensity” (sunlight) to nourish what the artist calls “cyberflora,” otherworldly seedlings that sporadically sprout and reveal holographic memories from past and future worlds. The virtual grotto interweaves the organic and cybernetic, planting questions about growth mechanisms in a world dominated by technology.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eWhitney Biennial 2026\u003c/em\u003e is organized by Marcela Guerrero, DeMartini Family Curator and Drew Sawyer, Sondra Gilman Curator of Photography, with Beatriz Cifuentes, Biennial Curatorial Assistant and Carina Martinez, Rubio Butterfield Family Fellow.\u003c/p\u003e\u003cp class=\"large\"\u003eJaime Soto Kure, programming; Victor Gamboa, sound design; Irene Rodríguez, voice; Edny Jean Joseph, graphic design support. First prototyped during the Game Jam Lab of Museo La Tertulia in Cali, Colombia.\u003c/p\u003e\u003cp\u003eTo play on mobile, please rotate your phone for landscape viewing.\u003c/p\u003e","primary_media_id":64612,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2026-02-26T11:14:54.958-05:00","updated_at":"2026-03-02T18:29:53.849-05:00","block_editor":{"data":{"id":"5991","type":"block_editor","attributes":{"id":5991,"exhibition_id":2423,"page_id":null,"created_at":"2026-02-26T11:14:54.945-05:00","updated_at":"2026-02-26T11:14:54.945-05:00","regions":[{"data":{"id":"23819","type":"region","attributes":{"id":23819,"position":1,"columns":12,"block_editor_id":5991,"created_at":"2026-02-26T11:16:18.669-05:00","updated_at":"2026-03-02T18:29:53.717-05:00","region_components":[{"data":{"id":"43815","type":"region_component","attributes":{"id":43815,"component_id":15737,"component_type":"TextComponent","position":1,"region_id":23819,"created_at":"2026-02-26T11:16:18.699-05:00","updated_at":"2026-03-02T18:29:53.772-05:00","component":{"data":{"id":"15737","type":"component","attributes":{"id":15737,"exhibition_id":2423,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eLeo Castañeda\u003c/strong\u003e (b. 1988, Cali, Colombia) is a multimedia artist and video game designer exploring Latin American Surrealism in the digital age. His artwork primarily takes the form of episodic games and immersive installations that meld atmospheric paintings, video, mixed reality, wearables, and sculpture. Castañeda is a Knight Foundation Arts + Technology Fellow, YoungArts Artist Technology Fellow, Emergent Strategy Ideation Institute Praxis Project Fellow, and an Ellies Creator Award, and Harpo Foundation grantee. Castañeda has exhibited at Pérez Art Museum Miami; Bronx Museum of the Arts; Haus der elektronischen Künste Basel; Museu do Amanhã, Rio de Janeiro; Museo National de Arte Guatemala; Espacio ArtNexus, Bogotá; Locust Projects Miami; Museo de Arte Moderno La Tertulia Colombia; Bienal de Antioquia y Medellin and the Bienal de Artes Mediales, Santiago, Chile. His work has been featured on PBS, Rhizome, Killscreen, Vice, Hyperallergic, ArtNexus, El Pais, Spike Art Magazine, and New American Paintings. He is currently a resident at the Bakehouse Arts Complex in Miami.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1081","type":"exhibition","attributes":{"id":1081,"title":"MTAA: VitoAcconciUpdate","start_time":"2001-12-01T00:00:00.000-05:00","end_time":"2001-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"December 2001","url":"/exhibitions/mtaa","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8238\"\u003eMTAA\u003c/a\u003e’s \u003cem\u003eVitoAcconciUpdate\u003c/em\u003e reimagines the basic “script” of Vito Acconci’s \u003cem\u003eSeedbed\u003c/em\u003e, a 1972 performance at the Sonnabend Gallery in New York. In the original work, a low ramp extended across the gallery, beginning two feet up the side of one wall and slanting down to the middle of the space where it merged with the floor. For three weeks, Acconci lay hidden beneath the ramp, masturbating while his spoken fantasies about the visitors above him were conveyed by loudspeakers in the gallery.\u003c/p\u003e\u003cp class=\"large\"\u003eMTAA’s update launches a window with strobing effect that stands in for the ramp of the original performance. Across the top of the window, a narrow band produces a visual “crack” on the surface of the “seedbed ramp” and gives a view of snippets of multiple browser frames. Appearing within those frames are visuals such as eyes peeking back at the viewer or human skin labeled “Hot Young Hot,” referencing the voyeuristic qualities of the web. Embedded in \u003cem\u003eVitoAcconciUpdate\u003c/em\u003e is a “moaner function” that allows viewers to activate a moaning sound. Following MTAA’s \u003cem\u003eOnKawaraUpdate\u0026nbsp;\u003c/em\u003e(also 2001), the work was the second in a series of online works by the artists that automated time-based art from the 1960s and ’70s.\u003c/p\u003e","primary_media_id":56223,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-08-23T16:14:05.552-04:00","updated_at":"2026-03-02T10:37:53.521-05:00","block_editor":{"data":{"id":"3671","type":"block_editor","attributes":{"id":3671,"exhibition_id":1081,"page_id":null,"created_at":"2025-06-16T12:38:18.616-04:00","updated_at":"2025-06-16T12:38:18.616-04:00","regions":[{"data":{"id":"23818","type":"region","attributes":{"id":23818,"position":1,"columns":12,"block_editor_id":3671,"created_at":"2026-02-24T15:59:44.552-05:00","updated_at":"2026-03-02T10:37:53.441-05:00","region_components":[{"data":{"id":"43814","type":"region_component","attributes":{"id":43814,"component_id":15736,"component_type":"TextComponent","position":1,"region_id":23818,"created_at":"2026-02-24T15:59:44.670-05:00","updated_at":"2026-03-02T10:37:53.460-05:00","component":{"data":{"id":"15736","type":"component","attributes":{"id":15736,"exhibition_id":1081,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMTAA\u003c/strong\u003e (M.River \u0026amp; T.Whid Art Associates), formed in 1996, is a conceptual and net art collaboration of \u003cstrong\u003eMichael Sarff\u003c/strong\u003e (b. 1967; Iowa City, Iowa) and \u003cstrong\u003eTim Whidden\u003c/strong\u003e (b. 1969; Elyria, Ohio). MTAA has presented work in New York at the New Museum, MoMA PS1, Postmasters Gallery, and Artists Space; as well as at the Experimental Media and Performing Arts Center (EMPAC), Rensselaer Polytechnic Institute, Troy, New York; the 2010 01SJ Biennial, San Jose, California; the Walker Art Center, Minneapolis; the Beall Center for Art and Technology, University of California, Irvine; the Getty Center, Los Angeles; and the San Francisco Museum of Modern Art (SFMOMA). Their work also has been shown at international venues including ARTBOOM Festival, Krakow, Poland; iCommons Summit ’07, Dubrovnik, Croatia; Split Film Festival, Croatia; and the Second International Video Art Biennial, Tel Aviv. They have earned commissions, grants, and awards from Creative Capital, 01SJ Biennial, EMPAC, SFMOMA, Rhizome, Eyebeam, and New Radio and Performing Arts, Inc (1981–2017).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1055","type":"exhibition","attributes":{"id":1055,"title":"Tina LaPorta: voyeur_web","start_time":"2001-07-01T00:00:00.000-04:00","end_time":"2001-07-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"July 2001","url":"/exhibitions/tina-laporta","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8243\"\u003eTina LaPorta\u003c/a\u003e’s \u003cem\u003evoyeur_web\u003c/em\u003e collapses the private and public spheres by connecting the blueprint of an apartment to images from webcams that seemingly open a view into the apartment’s rooms. During the month of July 2001, \u003cem\u003evoyeur_web\u003c/em\u003e linked to the live webcams of people who had installed the cameras in their homes, knowingly broadcasting their lives online. The live links were eventually replaced with an archived version of the images broadcast in July 2001. \u003cem\u003evoyeur_web\u0026nbsp;\u003c/em\u003ecomments on the\u003cem\u003e\u0026nbsp;\u003c/em\u003etensions between “broadcasting oneself” by putting one’s private spaces on view and the voyeuristic impulses in watching strangers’ lives. Prescient and radical at its time, the Gate Page documents an early stage of performing identity in the online environment, when people realized that to exist online required being seen. \u003cem\u003evoyeur_web\u003c/em\u003e depicts a performance of the self that strives to be authentic and transparent, preceding the highly stylized version of the self-image that would dominate TikTok and Instagram.\u003c/p\u003e\u003cp\u003eThe original version of this project is no longer fully functional since it depended on live webcams. Linked instead is an archival version of the project that can also be found \u003ca href=\"/exhibitions/voyeur-web\"\u003eelsewhere in artport\u003c/a\u003e.\u003c/p\u003e","primary_media_id":56162,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-04-24T15:09:08.426-04:00","updated_at":"2026-02-26T17:59:26.155-05:00","block_editor":{"data":{"id":"3649","type":"block_editor","attributes":{"id":3649,"exhibition_id":1055,"page_id":null,"created_at":"2025-06-16T12:38:16.563-04:00","updated_at":"2025-06-16T12:38:16.563-04:00","regions":[{"data":{"id":"23821","type":"region","attributes":{"id":23821,"position":1,"columns":12,"block_editor_id":3649,"created_at":"2026-02-26T17:58:55.389-05:00","updated_at":"2026-02-26T17:59:26.106-05:00","region_components":[{"data":{"id":"43819","type":"region_component","attributes":{"id":43819,"component_id":15739,"component_type":"TextComponent","position":1,"region_id":23821,"created_at":"2026-02-26T17:58:55.405-05:00","updated_at":"2026-02-26T17:59:26.114-05:00","component":{"data":{"id":"15739","type":"component","attributes":{"id":15739,"exhibition_id":1055,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eTina LaPorta\u003c/strong\u003e (b. 1967; Chicago, Illinois) is known for pioneering performances created specifically for the internet and early explorations of live streaming. Her work has been shown at venues such as the Cornell Art Museum, Delray Beach, Florida; the Hollywood Art and Culture Center, Florida; and Locust Projects, Miami; and was included in the touring exhibition \u003cem\u003eTelematic Connections: The Virtual Embrace\u003c/em\u003e (2001); as well as \u003cem\u003eE.Mergence:\u003c/em\u003e \u003cem\u003eTechnically Engaged\u0026nbsp;\u003c/em\u003e(2001) at A.I.R Gallery, New York; \u003cem\u003eDystopia and Identity in the Age of Global Communications\u003c/em\u003e (2000–2001) at Tribes Gallery, New York; and \u003cem\u003eBody as Byte\u0026nbsp;\u003c/em\u003e(2001)\u003cem\u003e\u0026nbsp;\u003c/em\u003eat Kunstmuseum Luzern, Switzerland. LaPorta has participated in symposia and online projects, including \u003cem\u003eThe Warhol Hijack\u003c/em\u003e, at weliveinpublic.com (2000–2001); \u003cem\u003eINVENCAO: Thinking for the Next Millennium\u003c/em\u003e, Brazil (1999); and \u003ca href=\"http://heelstone.com/meridian/templates/laporta/\"\u003e\u003cem\u003eAlterities: Interdisciplinarity and Feminine Practices of Space\u003c/em\u003e\u003c/a\u003e at the Ecole Superieure Nationale des Beaux-Arts, Paris (1999).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1076","type":"exhibition","attributes":{"id":1076,"title":"Cary Peppermint: CN_ZERO","start_time":"2001-08-01T00:00:00.000-04:00","end_time":"2001-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"August 2001","url":"/exhibitions/cary-peppermint","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eCN_ZERO\u003c/em\u003e by Cary Peppermint is an entry portal to \u003cem\u003eCONDUCTOR NUMBER ZERO\u003c/em\u003e, a series of interactive, real-time performance installations and techno-music lectures initiated in 1997 and concluded in 2004. Each performance incorporated surveillance technology, enabling the audience to simultaneously experience the actual event and its live video approximation. Described by the artist as a “simulation of sincerity,” \u003cem\u003eCN_ZERO\u003c/em\u003e functioned as a platform that questioned artistic authenticity and identity in the digital age. The Gate Page allows users to listen to or download three MP3 “techno-lectures” that combine electronic music with spoken word. Peppermint disseminated his work through his website \u003ca href=\"https://web.archive.org/web/20120702213319/http://www.restlessculture.net/\"\u003erestlessculture.net\u003c/a\u003e, which used materials from commercial sites and publications, such as Ebay.com, \u003cem\u003eArtforum\u003c/em\u003e, and Mp3.com, and recombined them to function as carriers of his interactive compositions of chance or \"restless culture.\"\u003c/p\u003e","primary_media_id":56164,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-08-21T17:49:49.548-04:00","updated_at":"2026-02-26T17:49:56.179-05:00","block_editor":{"data":{"id":"3663","type":"block_editor","attributes":{"id":3663,"exhibition_id":1076,"page_id":null,"created_at":"2025-06-16T12:38:18.516-04:00","updated_at":"2025-06-16T12:38:18.516-04:00","regions":[{"data":{"id":"23820","type":"region","attributes":{"id":23820,"position":1,"columns":12,"block_editor_id":3663,"created_at":"2026-02-26T17:49:56.093-05:00","updated_at":"2026-02-26T17:49:56.123-05:00","region_components":[{"data":{"id":"43818","type":"region_component","attributes":{"id":43818,"component_id":15738,"component_type":"TextComponent","position":1,"region_id":23820,"created_at":"2026-02-26T17:49:56.114-05:00","updated_at":"2026-02-26T17:49:56.114-05:00","component":{"data":{"id":"15738","type":"component","attributes":{"id":15738,"exhibition_id":1076,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eCary Peppermint\u003c/strong\u003e [also known as Cary Adams] (b. 1970; Rome, Georgia) created some of the first real-time performances realized via the internet. He has earned support for his work from the National Endowment for the Arts, the New York State Council on the Arts, and the Andrew W. Mellon Foundation, among others. His performances, exhibitions, and lectures have taken place at venues such as Postmasters Gallery (1984–2025), New York; New York University; 319 Scholes, New York; Smack Mellon Gallery, Brooklyn; Exit Art, New York (1982–2012); University of California, Los Angeles; MIT Media Lab, Cambridge, Massachusetts; ISEA (International Symposium on Electronic Art) 2012; Banff Centre for Arts and Creativity, Canada; European Media Art Festival; Parsons School of Design, New School, New York; and the Neuberger Museum of Art, Purchase, New York. His work is in the collections of the Walker Art Center, Minneapolis; Rhizome, Turbulence.org (1996–2016), and Cornell University’s Rose Goldsen Archive of New Media Art.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1048","type":"exhibition","attributes":{"id":1048,"title":"Margot Lovejoy: Turns","start_time":"2001-05-01T00:00:00.000-04:00","end_time":"2001-05-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"May 2001","url":"/exhibitions/margot-lovejoy","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8202\"\u003eMargot Lovejoy\u003c/a\u003e’s 2001 Gate Page served as an entry portal to her artwork \u003cem\u003eTurns\u003c/em\u003e,\u003cem\u003e\u0026nbsp;\u003c/em\u003ea website that collected stories of the turning points in people’s lives and thematically organized them in a navigable interface. The Gate Page references elements of the larger \u003cem\u003eTurns\u003c/em\u003e site, with connecting paths that resemble roads, blood vessels, or neurons. Clicking on the paths generates additional routes, which intersect and overlap with existing ones, gradually filling the empty space and saturating the screen. As the network expands, dots in various shapes and colors, described by the artist as “kernels,” move along the paths with increasing speed and frequency. Occasionally, emotionally charged words indicating themes for turning points—such as “SURVIVAL,” “SHOCK,” “ALONE,” and “ENEMIES”—appear along the paths. The work is set against a background of industrial, percussive sounds that create a sensory environment. The \u003cem\u003eTurns\u003c/em\u003e website was featured in the \u003ca href=\"/exhibitions/biennial-2002\"\u003e2002 Whitney Biennial\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eThis project was reconstructed using the \u003ca href=\"https://web.archive.org/web/20010607175331/https://myturningpoint.com/splash/margotlovejoy_splash.html\"\u003eInternet Archive\u003c/a\u003e.\u003c/p\u003e","primary_media_id":61311,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-03-10T16:12:41.577-05:00","updated_at":"2026-02-26T17:40:18.535-05:00","block_editor":{"data":{"id":"3643","type":"block_editor","attributes":{"id":3643,"exhibition_id":1048,"page_id":null,"created_at":"2025-06-16T12:38:16.461-04:00","updated_at":"2025-06-16T12:38:16.461-04:00","regions":[{"data":{"id":"23814","type":"region","attributes":{"id":23814,"position":1,"columns":12,"block_editor_id":3643,"created_at":"2026-02-23T13:01:45.017-05:00","updated_at":"2026-02-26T17:40:18.459-05:00","region_components":[{"data":{"id":"43810","type":"region_component","attributes":{"id":43810,"component_id":15732,"component_type":"TextComponent","position":1,"region_id":23814,"created_at":"2026-02-23T13:01:45.034-05:00","updated_at":"2026-02-26T17:40:18.468-05:00","component":{"data":{"id":"15732","type":"component","attributes":{"id":15732,"exhibition_id":1048,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMargot Lovejoy\u003c/strong\u003e (1930–2019) used new technologies in her installations, artist’s books, and websites to open a discourse on the ways the internet was changing notions of the individual in a social context. Her first website \u003ca href=\"https://web.archive.org/web/20160306195155/http://www.parthenia.com/\"\u003eparthenia.com\u003c/a\u003e (1995), a monument to victims of domestic violence, was archived by the Walker Art Center in Minneapolis as part of the pioneering site äda ’web. A professor of visual arts at the State University of New York at Purchase, she was the author of Postmodern Currents: Art and Artists in the Age of Electronic Media (first published 1989); and the recipient of a 1987 Guggenheim Fellowship and a 1994 Arts International Grant in India. She exhibited internationally, including many solo presentations in and around New York at MoMA PS1; the Newhouse Center for Contemporary Art, Staten Island; the Alternative Museum (1975–2000); the Queens Museum; the Neuberger Museum of Art, Purchase; and the Islip Art Museum (1985–2020).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1051","type":"exhibition","attributes":{"id":1051,"title":"Jennifer and Kevin McCoy: 201: A Text Algorithm","start_time":"2001-06-01T00:00:00.000-04:00","end_time":"2001-06-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"June 2001","url":"/exhibitions/jennifer-and-kevin-mccoy","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8244\"\u003eJennifer\u003c/a\u003e and \u003ca href=\"/artists/8245\"\u003eKevin McCoy\u003c/a\u003e’s \u003cem\u003e201: A Text Algorithm\u0026nbsp;\u003c/em\u003epresents a numbered list of rows with scrolling text describing each shot of Stanley Kubrick’s 1968 film\u003cem\u003e\u0026nbsp;2001: A Space Odyssey.\u003c/em\u003e Behind the rows, a still from Kubrick’s film shows the protagonist, Dave, removing memory units from the AI character HAL in an effort to shut him down. The horizontal scroll of the text resembles LED displays often used in advertisements and commercial signage as it intersects with the vertical arrangement of numbered vertical bars in the movie still. Clicking on the numbers denoting the respective shot for each text row links users to the artists’ website.\u003c/p\u003e\u003cp class=\"large\"\u003eBy reducing the cinematic narrative to a shot list, the McCoys’ work deconstructs experimental cinema into a database of text and subliminal cues. It both investigates how individual shots generate spatial relationships and challenges conventional paradigms of time and space in moving images. The Gate Page is part of the McCoys’ series \u003cem\u003e201: A Space Algorithm\u003c/em\u003e, in which users are invited to view and re-edit shots from the film.\u003c/p\u003e","primary_media_id":55050,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-03-24T15:38:13.448-04:00","updated_at":"2026-02-26T17:37:22.415-05:00","block_editor":{"data":{"id":"3645","type":"block_editor","attributes":{"id":3645,"exhibition_id":1051,"page_id":null,"created_at":"2025-06-16T12:38:16.484-04:00","updated_at":"2025-06-16T12:38:16.484-04:00","regions":[{"data":{"id":"23815","type":"region","attributes":{"id":23815,"position":1,"columns":12,"block_editor_id":3645,"created_at":"2026-02-23T13:09:32.161-05:00","updated_at":"2026-02-26T17:37:22.373-05:00","region_components":[{"data":{"id":"43811","type":"region_component","attributes":{"id":43811,"component_id":15733,"component_type":"TextComponent","position":1,"region_id":23815,"created_at":"2026-02-23T13:09:32.172-05:00","updated_at":"2026-02-26T17:37:22.381-05:00","component":{"data":{"id":"15733","type":"component","attributes":{"id":15733,"exhibition_id":1051,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eJennifer\u003c/strong\u003e and \u003cstrong\u003eKevin McCoy\u003c/strong\u003e (b. 1968; Sacramento, California; b. 1967; Seattle, Washington) create multimedia artworks that examine the genres and conventions of filmmaking, memory, and language. They are known for constructing subjective databases of narrative material and making fragmentary miniature film sets with lights, video cameras, and moving sculptural elements to create live cinematic events. Their work has been widely exhibited in the United States and internationally, including at the Centre Pompidou, Paris; the Museum of Modern Art (MoMA), New York; the British Film Institute, London; Kunstverein Hannover, Germany; the Beall Center for Art and Technology, University of California, Irvine; PKM Gallery, Beijing; the San Jose Museum of Art, California; Palazzo delle Papesse, Siena, Italy; the Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts; the Sundance Film Festival; and Artists Space, New York. Their work is in the collections of the Whitney Museum; MoMA; the Metropolitan Museum of Art, New York; the Milwaukee Art Museum; the 21C Museum Hotels; and the Speed Art Museum, Louisville. They have received a Creative Capital Award (2002), the WIRED Rave Award for Art (2005), a Guggenheim Fellowship (2011), and a Headlands Alumni Award (2014).\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2421","type":"exhibition","attributes":{"id":2421,"title":"Taína H. Cruz: I Saw the Future and It Smiled Back","start_time":"2026-03-08T00:00:00.000-05:00","end_time":"2026-09-01T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Through Sept 2026","url":"/exhibitions/taina-h-cruz","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eThis artwork is featured on the building facade on Gansevoort Street across from the Whitney and the High Line.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eGraffiti is a major inspiration for Taína H. Cruz’s (b. 1998, New York, NY) paintings and drawings, including those she created on-site on one of the Whitney’s fifth-floor gallery walls for the 82nd edition of the \u003ca href=\"/exhibitions/2026-Biennial\"\u003eMuseum’s Biennial\u003c/a\u003e. Her work, \u003cem\u003eI Saw the Future and It Smiled Back\u003c/em\u003e, on the Gansevoort Street billboard, reflects a child-like sense of newness and anticipation.\u003c/p\u003e\u003cp class=\"large\"\u003eThis work is part of \u003cem\u003eWhitney Biennial 2026\u003c/em\u003e.\u003c/p\u003e\u003cp\u003eThis project is made possible by the Whitney Museum of American Art, TF Cornerstone, and the High Line.\u003c/p\u003e\u003cp\u003e\u003cem\u003eTaína\u0026nbsp;Cruz: I Saw the Future and It Smiled Back\u003c/em\u003e is part of Outside of the Box programming, which is supported by a generous endowment from the Jacques and Natasha Gelman Foundation.\u003c/p\u003e","primary_media_id":64600,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2026-02-25T16:10:36.358-05:00","updated_at":"2026-02-26T14:32:48.626-05:00","block_editor":{"data":{"id":"5987","type":"block_editor","attributes":{"id":5987,"exhibition_id":2421,"page_id":null,"created_at":"2026-02-25T16:10:36.355-05:00","updated_at":"2026-02-25T16:10:36.355-05:00","regions":[]}}}}},{"id":"1413","type":"exhibition","attributes":{"id":1413,"title":"Hyundai Terrace Commission: Marina Zurkow","start_time":"2025-04-09T00:00:00.000-04:00","end_time":"2026-01-11T00:00:00.000-05:00","member_start_time":"2025-04-03T00:00:00.000-04:00","member_end_time":"2025-04-07T00:00:00.000-04:00","date_override":"","url":"/exhibitions/marina-zurkow","primary_text":"\u003cp class=\"large\"\u003e\u003cem\u003eThe River is a Circle\u003c/em\u003e is a software-driven animation by \u003ca href=\"/artists/9200\"\u003eMarina Zurkow\u003c/a\u003e (b. 1962, New York, NY) that presents a view of the Hudson River as a horizontal split between the world above and below the water. The dynamic composition of the animated elements is driven by algorithmic probability and reflects the current weather and season in New York. The work brings together a mix of river ecology, researched with the help of Hudson River Park Trust, and references to the history of the Meatpacking District, including its time as a trading post for the Lenape people, a hub for meat processing plants, a haven for queer night life, and a site for the sculptural works by \u003ca href=\"/artists/3592\"\u003eGordon Matta-Clark\u003c/a\u003e and \u003ca href=\"/artists/3719\"\u003eDavid Hammons\u003c/a\u003e across from the Whitney.\u003c/p\u003e\u003cp\u003e\u003cem\u003eHyundai Terrace Commission: Marina Zurkow\u0026nbsp;\u003c/em\u003eis organized by Christiane Paul, Curator of Digital Art, with David Lisbon, Curatorial Assistant.\u0026nbsp;\u003c/p\u003e\u003cp data-pm-slice=\"1 1 []\"\u003e\u003cem\u003eHyundai Terrace Commission: Marina Zurkow: The River is a Circle\u003c/em\u003e is part of a multiyear partnership with Hyundai Motor in support of an annual site-specific installation on the Whitney Museum's fifth-floor outdoor gallery.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/829970/large_Untitled-1.jpg\" style=\" height: 80px;\"\u003e\u003c/em\u003e\u003c/p\u003e","primary_media_id":62745,"override_media_id":null,"sign_media_id":62663,"feature_id":null,"artwork_series_id":null,"installation_series_id":2647,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-12-12T14:17:38.365-05:00","updated_at":"2026-02-23T16:50:37.235-05:00","block_editor":{"data":{"id":"4215","type":"block_editor","attributes":{"id":4215,"exhibition_id":1413,"page_id":null,"created_at":"2025-06-16T12:38:29.004-04:00","updated_at":"2025-06-16T12:38:29.004-04:00","regions":[{"data":{"id":"22518","type":"region","attributes":{"id":22518,"position":1,"columns":12,"block_editor_id":4215,"created_at":"2025-04-01T16:37:29.649-04:00","updated_at":"2026-02-23T16:50:37.141-05:00","region_components":[{"data":{"id":"41119","type":"region_component","attributes":{"id":41119,"component_id":109,"component_type":"JumplinkComponent","position":1,"region_id":22518,"created_at":"2025-04-01T16:37:29.675-04:00","updated_at":"2026-02-23T16:50:37.148-05:00","component":{"data":{"id":"109","type":"component","attributes":{"id":109,"exhibition_id":1413,"text":"Glossary"}}}}}}]}}},{"data":{"id":"22516","type":"region","attributes":{"id":22516,"position":2,"columns":4,"block_editor_id":4215,"created_at":"2025-04-01T16:36:26.008-04:00","updated_at":"2026-02-23T16:50:37.155-05:00","region_components":[{"data":{"id":"41117","type":"region_component","attributes":{"id":41117,"component_id":14236,"component_type":"MediaComponent","position":1,"region_id":22516,"created_at":"2025-04-01T16:36:26.026-04:00","updated_at":"2026-02-23T16:50:37.161-05:00","component":{"data":{"id":"14236","type":"component","attributes":{"id":14236,"exhibition_id":1413,"media_id":62150,"url":"/exhibitions/marina-zurkow/glossary"}}}}}}]}}},{"data":{"id":"22517","type":"region","attributes":{"id":22517,"position":3,"columns":8,"block_editor_id":4215,"created_at":"2025-04-01T16:36:26.043-04:00","updated_at":"2026-02-23T16:50:37.167-05:00","region_components":[{"data":{"id":"41118","type":"region_component","attributes":{"id":41118,"component_id":14916,"component_type":"TextComponent","position":1,"region_id":22517,"created_at":"2025-04-01T16:36:26.068-04:00","updated_at":"2026-02-23T16:50:37.174-05:00","component":{"data":{"id":"14916","type":"component","attributes":{"id":14916,"exhibition_id":1413,"text":"\u003ch2\u003eGlossary\u003c/h2\u003e\u003cp class=\"large\"\u003eView Marina Zurkow’s glossary of all of the animated elements that appear in \u003ci data-stringify-type=\"italic\"\u003eThe River is a Circle.\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"/exhibitions/marina-zurkow/glossary\" class=\"btn\"\u003eView glossary\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}},{"data":{"id":"23750","type":"region","attributes":{"id":23750,"position":4,"columns":12,"block_editor_id":4215,"created_at":"2026-01-15T14:46:56.021-05:00","updated_at":"2026-02-23T16:50:37.181-05:00","region_components":[{"data":{"id":"43659","type":"region_component","attributes":{"id":43659,"component_id":3647,"component_type":"HorizontalRuleComponent","position":1,"region_id":23750,"created_at":"2026-01-15T14:46:56.031-05:00","updated_at":"2026-02-23T16:50:37.189-05:00","component":{"data":{"id":"3647","type":"component","attributes":{"id":3647,"exhibition_id":1413}}}}}}]}}},{"data":{"id":"23751","type":"region","attributes":{"id":23751,"position":5,"columns":4,"block_editor_id":4215,"created_at":"2026-01-15T14:46:56.038-05:00","updated_at":"2026-02-23T16:50:37.196-05:00","region_components":[{"data":{"id":"43661","type":"region_component","attributes":{"id":43661,"component_id":15341,"component_type":"MediaComponent","position":1,"region_id":23751,"created_at":"2026-01-15T14:46:56.062-05:00","updated_at":"2026-02-23T16:50:37.206-05:00","component":{"data":{"id":"15341","type":"component","attributes":{"id":15341,"exhibition_id":1413,"media_id":62654,"url":"https://artlab.hyundai.com/project/hyundai-terrace-commission-marina-zurkow"}}}}}}]}}},{"data":{"id":"23752","type":"region","attributes":{"id":23752,"position":6,"columns":8,"block_editor_id":4215,"created_at":"2026-01-15T14:46:56.053-05:00","updated_at":"2026-02-23T16:50:37.213-05:00","region_components":[{"data":{"id":"43660","type":"region_component","attributes":{"id":43660,"component_id":15691,"component_type":"TextComponent","position":1,"region_id":23752,"created_at":"2026-02-23T16:50:20.154-05:00","updated_at":"2026-02-23T16:50:37.220-05:00","component":{"data":{"id":"15691","type":"component","attributes":{"id":15691,"exhibition_id":1413,"text":"\u003ch2\u003eHyundai Artlab\u003c/h2\u003e\u003cp class=\"large\"\u003eDiscover additional videos and articles about \u003cem\u003eThe River is a Circle.\u003c/em\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://artlab.hyundai.com/project/hyundai-terrace-commission-marina-zurkow\" class=\"btn\"\u003eHyundai Artlab\u003c/a\u003e\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1103","type":"exhibition","attributes":{"id":1103,"title":"Scott Paterson, Marina Zurkow, Julian Bleecker, Adam Chapman: PDPal","start_time":"2003-10-01T00:00:00.000-04:00","end_time":"2003-10-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"October 2003","url":"/exhibitions/paterson-zurkow-bleecker-chapman","primary_text":"\u003cp class=\"large\"\u003eThe\u003cem data-pasted=\"true\"\u003e\u0026nbsp;PDPal\u0026nbsp;\u003c/em\u003eGate Page features an animated video that serves as a prelude to the larger project \u003cem\u003ePDPal\u003c/em\u003e, a PDA-based mapping tool by \u003ca href=\"/artists/9201\"\u003eScott Paterson\u003c/a\u003e, \u003ca href=\"/artists/9200\"\u003eMarina Zurkow\u003c/a\u003e, \u003ca href=\"/artists/9202\"\u003eJulian Bleecker\u003c/a\u003e, and \u003ca href=\"/artists/8647\"\u003eAdam Chapman\u003c/a\u003e. \u003cem\u003ePDPal\u003c/em\u003e allowed users to log their urban experiences in Times Square: as a digital diary for writing, recording, and sharing one’s daily observations and memories, the tool provided an online forum that allowed to build a \"communicity,” a made-up city of individuals who share a subjective and poetic language. The work drew the user’s attention to social systems and physical environment in their surroundings, from landmark buildings to sidewalk encounters. Anti-geographic and anti-cartesian, \u003cem\u003ePDPal\u003c/em\u003e challenged existing mapping projects that utilized GPS and cartography, instead experimenting with emotionally based systems that shape personal and public spaces.\u003c/p\u003e\u003cp\u003eThe original \u003cem\u003ePDPal\u003c/em\u003e was meant to be run on PDA's using an application beamed from a physical location, and the original website pdpal.com is no longer online. More descriptions of the project are available from \u003ca href=\"https://o-matic.com/work/pdpal/\"\u003eMarina Zurkow\u003c/a\u003e, \u003ca href=\"https://creativetime.org/programs/archive/59/artist_pdpal.html\"\u003eCreative Time\u003c/a\u003e, \u003ca href=\"https://www.moma.org/interactives/exhibitions/2011/talktome/objects/140008/\"\u003eMoMA\u003c/a\u003e, and \u003ca href=\"https://artbase.rhizome.org/wiki/Q2517\"\u003eRhizome\u003c/a\u003e among others.\u003c/p\u003e","primary_media_id":56387,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-06T20:09:08.954-04:00","updated_at":"2026-02-23T16:46:23.746-05:00","block_editor":{"data":{"id":"3715","type":"block_editor","attributes":{"id":3715,"exhibition_id":1103,"page_id":null,"created_at":"2025-06-16T12:38:19.342-04:00","updated_at":"2025-06-16T12:38:19.342-04:00","regions":[{"data":{"id":"23817","type":"region","attributes":{"id":23817,"position":1,"columns":12,"block_editor_id":3715,"created_at":"2026-02-23T16:44:58.400-05:00","updated_at":"2026-02-23T16:46:23.622-05:00","region_components":[{"data":{"id":"43813","type":"region_component","attributes":{"id":43813,"component_id":15735,"component_type":"TextComponent","position":1,"region_id":23817,"created_at":"2026-02-23T16:44:58.412-05:00","updated_at":"2026-02-23T16:46:23.671-05:00","component":{"data":{"id":"15735","type":"component","attributes":{"id":15735,"exhibition_id":1103,"text":"\u003cp class=\"large\"\u003eTrained as an architect, \u003cstrong\u003eScott Paterson\u003c/strong\u003e became a member of the emerging media and digital art community in New York, which led to his work as a principal designer and associate creative director at Frog Design in New York and design-lead at the global design firm IDEO. He has twenty years of experience in strategic creative leadership, creating award-winning designs and mentoring across multiple disciplines. He has received grants from the Walker Art Center, Parsons School of Design, and The Design Institute at the University of Minnesota.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eMarina Zurkow\u003c/strong\u003e (b. 1962) is a media artist focused on nature and culture intersections, and fostering intimate connections between humans, other species, and planetary agents. Her work spans gallery installations and unconventional public participatory projects. Her work has been shown internationally, and recent exhibitions include \u003ca href=\"/exhibitions/marina-zurkow-parting-worlds\"\u003e\u003cem\u003eParting Worlds\u003c/em\u003e\u003c/a\u003e, including the \u003ca href=\"/exhibitions/marina-zurkow\"\u003eHyundai Terrace Commission: Marina Zurkow\u003c/a\u003e, at the Whitney Museum of American Art and \u003cem\u003eWHAT IF?\u003c/em\u003e at MoMA’s Creativity Lab, New York City; \u003cem\u003eAntroposcenes\u003c/em\u003e, Lo Pati Centre d’Art, Amposta, Spain; \u003cem\u003eThe Breath Eaters\u003c/em\u003e, Wolfsonian Museum, Miami; \u003cem\u003eUnderfoot/Overhead\u003c/em\u003e, Wasserman Projects, Detroit; and \u003cem\u003eCan the Substrate Speak?\u003c/em\u003e Festival Art Souterrain, Montreal, Canada. Zurkow was a 2022 fellow at the Environmental Media Lab, Princeton University; and received grants from the John Simon Guggenheim Memorial Foundation, Rice University, NYFA, NYSCA, the Rockefeller Foundation, and Creative Capital. She resides in the Hudson Valley, New York, and teaches at New York University.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eJulian Bleecker\u003c/strong\u003e is an artist, engineer, software developer, hardware product designer, author, researcher, and entrepreneur. In 2005 he founded the platform Near Future Laboratory, which has since become the company through which he does creative and commercial work. Julian has exhibited art and technology work through many venues, platforms, festivals, and galleries including Ars Electronica, Linz, Austria; Bitforms Gallery, Creative Time’s 59\u003csup\u003eth\u003c/sup\u003e Minute (Times Square, MoMA, and Rhizome, NYC; the Walker Art Center's Sculpture Garden, Minneapolis; and the Design Museum, London, UK. Along with Scott Paterson and Marina Zurkow, he was a Creative Capital grant recipient and has been an artist-in-residence at Eyebeam Atelier and Banff Center for the Arts.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cstrong\u003eAdam Chapman\u003c/strong\u003e’s work merges contemporary technology with traditional media such as drawing to explore the dynamic formation of imagery through generative patterns. He has shown internationally at museums and galleries including Pilar and Joan Miro Foundation, Palma, Balearic Islands, Spain; DeCordova Museum, Lincoln, MA; Triennale der Photographie Hamburg, Germany; American Museum of the Moving Image, Long Island City, New York; SKL Gallery, Illes Balears, Spain; and Catharine Clark Gallery, San Francisco, California. Chapman has been a visiting artist at the American Academy, Rome, Italy; MacDowell Colony, Petersborough, New Hampshire; Anderson Ranch Arts Center, Snowmass Village, CO; California State Fullerton’s Grand Central Arts Center, Santa Ana; Banff Center for the Arts, Banff, Alberta, Canada; and 911 Media Arts, Seattle. He has taught at Yale, NYU, and Parsons School of Design, The New School.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1111","type":"exhibition","attributes":{"id":1111,"title":"Mark Napier: Four","start_time":"2004-02-01T00:00:00.000-05:00","end_time":"2004-02-29T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2004","url":"/exhibitions/mark-napier","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8203\"\u003eMark Napier\u003c/a\u003e’s Gate Page presents four works from the artist’s series of studies using a physics simulator to generate movement of visual forms. In each piece, the shapes attract and repel one another by simulating gravitational forces, springs, masses, momentum, and friction. In the first piece, the movement shifts based on user input. The remaining three studies rely on gravitational and spring forces to create systems that continually aim for stability, resulting in continuous motion. By drawing a parallel between the brushstroke in painting and the algorithm in software art, Napier highlights an essential characteristic of the digital medium: the algorithm as a set of instructions that describes and at the same time is a record of potential actions. Encoded in the work is the potential for orbiting, bouncing, rotation, and fast and slow motion, playing out as action over time.\u003c/p\u003e","primary_media_id":56563,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-09-25T21:53:03.253-04:00","updated_at":"2026-02-23T16:20:58.243-05:00","block_editor":{"data":{"id":"3729","type":"block_editor","attributes":{"id":3729,"exhibition_id":1111,"page_id":null,"created_at":"2025-06-16T12:38:20.539-04:00","updated_at":"2025-06-16T12:38:20.539-04:00","regions":[{"data":{"id":"23816","type":"region","attributes":{"id":23816,"position":1,"columns":12,"block_editor_id":3729,"created_at":"2026-02-23T16:20:58.179-05:00","updated_at":"2026-02-23T16:20:58.201-05:00","region_components":[{"data":{"id":"43812","type":"region_component","attributes":{"id":43812,"component_id":15734,"component_type":"TextComponent","position":1,"region_id":23816,"created_at":"2026-02-23T16:20:58.195-05:00","updated_at":"2026-02-23T16:20:58.195-05:00","component":{"data":{"id":"15734","type":"component","attributes":{"id":15734,"exhibition_id":1111,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMark Napier\u003c/strong\u003e (b. 1961), a painter turned digital artist, packed up his paints in 1995 and began to create artwork exclusively for the Web. He has produced a wide range of Internet projects, including \u003cem\u003eThe Shredder\u003c/em\u003e (1998), an alternative browser that dematerializes the Web; \u003cem\u003eDigital Landfill\u003c/em\u003e (1998), an endless archive of digital debris; and ¨Bots (2000), a tool for building unique pop-culture icons from parts. Napier is noted for his innovative use of the Web as an art medium and for his open-ended evolving projects.\u003c/p\u003e\u003cp class=\"large\"\u003eHe has created commissioned projects for the Guggenheim Museum; the exhibition \u003cem\u003e010101\u003c/em\u003e (2001) at SFMOMA; and \u003ca href=\"/exhibitions/data-dynamics\"\u003e\u003cem\u003eData Dynamics\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003e(2001) at the Whitney Museum. His browser \u003cem\u003eRiot\u003c/em\u003e was included in the \u003ca href=\"/exhibitions/biennial-2002\"\u003e2002 Whitney Biennial\u003c/a\u003e. He has been shown at ZKM | Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany and the Walker Art Center, Minneapolis, and received an honorable mention by Ars Electronica ‘99, Linz, Austria.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"2301","type":"exhibition","attributes":{"id":2301,"title":"“Untitled” (America)","start_time":"2025-07-05T00:00:00.000-04:00","end_time":"2029-06-05T00:00:00.000-04:00","member_start_time":"2025-07-02T00:00:00.000-04:00","member_end_time":"2025-07-04T00:00:00.000-04:00","date_override":"","url":"/exhibitions/untitled-america","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eThis exhibition opened July 5, 2025 and will be on continuous view.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition features renowned works from the Whitney’s collection alongside recent acquisitions, highlighting key ideas and approaches in American art from 1900 through the early 1980s. Beginning with the Whitney’s robust holdings in figurative and realist traditions, the presentation considers how artists have responded to place and memory in the American landscape, popular culture and the rise of consumerism, the seductions and illusions of mass media, and the spatial and cultural dynamics of abstraction.\u003c/p\u003e\u003cp class=\"large\"\u003eIn 1930 sculptor and philanthropist \u003ca href=\"/artists/1415\"\u003eGertrude Vanderbilt Whitney\u003c/a\u003e founded the Whitney Museum of American Art as a means of supporting living artists and creating a platform for contemporary American art. Her vision has inspired the Museum’s collecting practice for nearly a century, even as the very idea of “America” has continued to evolve. \u003cem\u003e“\u003c/em\u003e\u003ca href=\"/collection/works/27963\"\u003e\u003cem\u003eUntitled” (America)\u003c/em\u003e\u003c/a\u003e pays homage to artist \u003ca href=\"/artists/3454\"\u003eFelix Gonzalez-Torres\u003c/a\u003e, whose work of the same title illuminates a window in the exhibition, creating a passage between the Museum and the world beyond. Writing about this work, Gonzalez-Torres reflected: “America has always been an unattainable dream, a place to dream about. . . . The America that I now know is still a place of light, a place of opportunities, of risks, of justice, of racism, of injustice, of hunger and excess, of pleasure and growth. Democracy is a constant job, a collective dedication.” In that spirit, this presentation invites viewers to explore the distinct visions of “America” put forth by artists as they took stock of the pressing ideas of their time and imagined new possibilities.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003e“Untitled” (America)\u003c/em\u003e is organized by Kim Conaty, Nancy and Steve Crown Family Chief Curator, with Antonia Pocock, Curatorial Assistant.\u003c/p\u003e\u003cp class=\"large\"\u003eThis presentation of the Whitney’s collection is dedicated to the memory of Leonard A. Lauder, Chairman Emeritus.\u003c/p\u003e\u003cp\u003e\u003cem\u003eUntitled (America)\u0026nbsp;\u003c/em\u003eis sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/823977/MM_logo_black.jpg\" style=\"height:25px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo, the Barbara Haskell American Fellows Legacy Fund, Lise and Michael Evans, Meg and Bennett Goodman, The KHR McNeely Family Foundation | Kevin, Rosemary, and Hannah Rose McNeely, Stephanie March and Dan Benton, and The Ron and Kerry Moelis Family Foundation.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Jill and Darius Bikoff and Elizabeth Marsteller Gordon.\u003c/p\u003e\u003cp\u003eGenerous support is provided by The Erving and Joyce Wolf Foundation, Timothy Greensfelder, the O’Grady Foundation, Susanne and William E. Pritchard III, the Thomas \u0026amp; Linda Koehn Foundation, and an anonymous donor.\u003c/p\u003e\u003cp\u003eAdditional support is provided by Ann Ames.\u003c/p\u003e\u003cp\u003eSpanish translation for \u003cem\u003eUntitled (America)\u003c/em\u003e is made possible through the support of Claudia Laviada and Carlos Rohm, and Stephanie March and Dan Benton.\u003c/p\u003e","primary_media_id":63991,"override_media_id":null,"sign_media_id":42148,"feature_id":107,"artwork_series_id":null,"installation_series_id":2650,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-06-11T10:53:23.306-04:00","updated_at":"2026-02-23T16:17:04.069-05:00","block_editor":{"data":{"id":"5851","type":"block_editor","attributes":{"id":5851,"exhibition_id":2301,"page_id":null,"created_at":"2025-06-16T12:38:42.524-04:00","updated_at":"2025-06-16T12:38:42.524-04:00","regions":[]}}}}},{"id":"2297","type":"exhibition","attributes":{"id":2297,"title":"Claes Oldenburg: Drawn from Life","start_time":"2025-07-05T00:00:00.000-04:00","end_time":"2026-04-27T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/claes-oldenburg","primary_text":"\u003cp class=\"large\"\u003eBest known for his sculptures of everyday objects rendered in unexpected textures or dimensions, \u003ca href=\"/artists/964\" title=\"https://whitney.org/artists/964\" data-outlook-id=\"58b6a46e-257c-4958-b4ec-13372cdc166a\"\u003eClaes Oldenburg\u003c/a\u003e (1929–2022) once proclaimed, “I am for an art that takes its form from the lines of life itself.” His innovations in sculpture emerged out of his drawing practice, which enabled him to swiftly record and transform the contours of the world around him. \u003cem\u003eClaes Oldenburg: Drawn from Life\u003c/em\u003e focuses on the artist’s drawings from the 1960s in which he playfully reimagined the spaces—streets, stores, homes—and objects of daily life. This selection from the Whitney’s extensive collection of Oldenburg's works on paper attests to his wide range as a draftsman and expanded definition of life drawing.\u003c/p\u003e\u003cp class=\"large\"\u003eOldenburg's earliest body of work in this exhibition, \u003cem\u003eThe Street\u0026nbsp;\u003c/em\u003e(1959–60), channels influences from everyday modes of drawing, such as urban graffiti and children’s art, into visceral portrayals of city life. Oldenburg turned to comics and advertising illustration as inspiration for his two subsequent series, \u003cem\u003eThe Store\u0026nbsp;\u003c/em\u003e(1961–64) and \u003cem\u003eThe Home\u003c/em\u003e (1963–69), which include exuberant drawings of food, clothing, and household appliances that informed his colorful, cartoonish “soft” sculptures. In 1965 Oldenburg began sketching enlarged versions of his favorite commonplace items—including fire hydrants, baked potatoes, and teddy bears—towering over cityscapes. Although these works were titled \u003cem\u003eProposed Colossal Monuments\u003c/em\u003e (1965–69), they remained fanciful notions until Oldenburg began building large-scale, outdoor sculptures in 1969.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eClaes Oldenburg: Drawn from Life\u0026nbsp;\u003c/em\u003eis organized by Antonia Pocock, Curatorial Assistant.\u0026nbsp;\u003c/p\u003e","primary_media_id":62794,"override_media_id":null,"sign_media_id":62777,"feature_id":106,"artwork_series_id":null,"installation_series_id":2649,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-05-21T11:07:13.471-04:00","updated_at":"2026-02-23T16:16:39.036-05:00","block_editor":{"data":{"id":"5843","type":"block_editor","attributes":{"id":5843,"exhibition_id":2297,"page_id":null,"created_at":"2025-06-16T12:38:42.449-04:00","updated_at":"2025-06-16T12:38:42.449-04:00","regions":[]}}}}},{"id":"1083","type":"exhibition","attributes":{"id":1083,"title":"C404: Prototype #38","start_time":"2002-02-01T00:00:00.000-05:00","end_time":"2002-02-28T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"February 2002","url":"/exhibitions/c404","primary_text":"\u003cp class=\"large\"\u003eReminiscent of a Geiger counter or an oscilloscope, \u003cem\u003ePrototype #38\u003c/em\u003e attempts to visualize the ebb and flow of the unseen tide of spirituality that resonates across the internet. A column of words at the screen’s center shows live search queries that are retrieved by a custom engine and then automatically submitted back to another search engine. \u003cem\u003ePrototype #38\u003c/em\u003e then parses the results and displays them intermittently at the bottom of the page. The project picks up spiritual terms spanning multiple religions and cultures and rates them on a high-to-low scale, in effect presenting a random picture of the spiritual state of the world at any given moment.\u003c/p\u003e\u003cp data-pasted=\"true\" class=\"large\"\u003e\u003cstrong\u003eCredits:\u003c/strong\u003e\u003cbr\u003eC404/Yoshi Sodeoka: concept and design.\u003cbr\u003eSean Rooney: sound, ActionScript and PHP programming.\u003cbr\u003eSpecial thanks: Natalie Ammirato and Andy Cooke.\u003c/p\u003e","primary_media_id":56340,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-08-28T20:32:33.595-04:00","updated_at":"2026-02-23T12:25:58.148-05:00","block_editor":{"data":{"id":"3675","type":"block_editor","attributes":{"id":3675,"exhibition_id":1083,"page_id":null,"created_at":"2025-06-16T12:38:18.666-04:00","updated_at":"2025-06-16T12:38:18.666-04:00","regions":[{"data":{"id":"23801","type":"region","attributes":{"id":23801,"position":1,"columns":12,"block_editor_id":3675,"created_at":"2026-02-19T16:52:00.340-05:00","updated_at":"2026-02-23T12:25:58.091-05:00","region_components":[{"data":{"id":"43794","type":"region_component","attributes":{"id":43794,"component_id":15729,"component_type":"TextComponent","position":1,"region_id":23801,"created_at":"2026-02-19T16:52:00.359-05:00","updated_at":"2026-02-23T12:25:58.100-05:00","component":{"data":{"id":"15729","type":"component","attributes":{"id":15729,"exhibition_id":1083,"text":"\u003cp class=\"large\"\u003eUnder the creative direction of \u003ca href=\"/artists/8179\"\u003e\u003cstrong\u003eYoshi Sodeoka\u003c/strong\u003e\u003c/a\u003e (b. 1967; Hiroshima, Japan), \u003ca href=\"/artists/8178\"\u003eC404\u003c/a\u003e (active 1998–2005) maintained C404.tv, a showcase for art projects, and C404.cc, a collection of interactive, animated, and static visual ideas. With Sean Rooney (b. 1966; Cornwall, New York), Sodeoka also created digital noise music under the name P2P. Sodeoka’s projects span fine art, editorial, and music contexts. He has collaborated with musicians such as Metallica, Psychic TV, Tame Impala, and Beck, and his illustrations have appeared in the \u003cem\u003eNew York Times\u003c/em\u003e, \u003cem\u003eWIRED\u003c/em\u003e, \u003cem\u003eThe Atlantic\u003c/em\u003e, and \u003cem\u003eMIT Technology Review\u003c/em\u003e. Brands such as Apple, Samsung, Adidas, and Nike have commissioned his art. Sodeoka’s work also has been exhibited internationally at venues including the Centre Pompidou, Paris; Tate Britain; the Cleveland Museum of Art; La Gaîté Lyrique, Paris; the Museum of the Moving Image, Queens; the Baltimore Museum of Art; and the Laforet Museum Harajuku, Tokyo. His work is in the collections of the Museum of the Moving Image and the San Francisco Museum of Modern Art.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1425","type":"exhibition","attributes":{"id":1425,"title":"Christine Sun Kim: All Day All Night","start_time":"2025-02-08T00:00:00.000-05:00","end_time":"2025-09-28T00:00:00.000-04:00","member_start_time":"2025-02-05T00:00:00.000-05:00","member_end_time":"2025-02-07T00:00:00.000-05:00","date_override":"","url":"/exhibitions/christine-sun-kim-all-day-all-night","primary_text":"\u003cp class=\"large\"\u003eIn works full of sharp wit and incisive commentary, \u003ca href=\"/artists/18616\"\u003eChristine Sun Kim\u003c/a\u003e (b. 1980, Orange County, California) engages sound and the complexities of communication in its various modes. Using musical notation, infographics, and language—both in her native American Sign Language (ASL) and written English—she has produced drawings, videos, sculptures, and installations that often explore non-auditory, political dimensions of sound. In many works, Kim draws directly on the spatial dynamism of ASL, translating it into graphic form. By emphasizing images, the body, and physical space, she upends the societal assumption that spoken languages are superior to those that are signed.\u0026nbsp;\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition surveys Kim’s entire artistic output to date and features works ranging from early 2010s performance documentation to her recent site-responsive mural, \u003cem\u003eGhost(ed) Notes\u0026nbsp;\u003c/em\u003e(2024), re-created across multiple walls on the eighth floor. Inspired by similarly named works made throughout her career, the exhibition’s title, \u003cem\u003eAll Day All Night\u003c/em\u003e, points to the vitality Kim brings to her artmaking; she is relentlessly experimental, productive, and dedicated to sharing her Deaf lived experiences with others.\u003c/p\u003e\u003cp class=\"large\"\u003eThis exhibition is organized by the Whitney Museum of American Art, New York, and the Walker Art Center, Minneapolis. The organizing curators are Jennie Goldstein, Jennifer Rubio Associate Curator of the Collection, Whitney Museum of American Art; Pavel Pyś, Curator of Visual Arts and Collections Strategy, Walker Art Center; and Tom Finkelpearl, independent curator; with Rose Pallone, Curatorial Assistant, Whitney Museum of American Art, and Brandon Eng, Curatorial Assistant, Walker Art Center.\u003c/p\u003e\u003cp\u003eMajor support for \u003cem\u003eChristine Sun Kim: All Day All Night\u0026nbsp;\u003c/em\u003eis provided by the Ford Foundation, Teiger Foundation, the Terra Foundation for American Art, and the Andy Warhol Foundation for the Visual Arts.\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/830693/large_Ford-single-black.jpg\" style=\"height: 20px;\"\u003e\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/831385/large_Untitled-2-copy.jpg\" style=\"height: 35px;\"\u003e\u0026nbsp; \u0026nbsp; \u003cimg src=\"https://whitneymedia.org/assets/image/828001/large_TER_PMS-660C_Lockup_Medium.jpg\" style=\"height: 35px;\"\u003e\u0026nbsp; \u0026nbsp; \u003cimg src=\"https://whitneymedia.org/assets/image/826825/Default_Logo_AWF.png\" style=\" height: 35px;\"\u003e\u003c/p\u003e\u003cp\u003eSignificant support is provided by the Korea Foundation.\u003c/p\u003e\u003cp\u003eIn New York, the exhibition is sponsored by\u003c/p\u003e\u003cp\u003e\u003cimg src=\"https://whitneymedia.org/assets/image/831770/large_EPS-and-AI-Files-for-Graphic-Designersmetlife_eng_logo_cmyk.jpg\" style=\"height: 40px;\"\u003e\u003c/p\u003e\u003cp\u003eMajor support is provided by Judy Hart Angelo and the Whitney’s National Committee.\u003c/p\u003e\u003cp\u003eSignificant support is provided by Marcia Dunn and Jonathan Sobel, the John R. Eckel, Jr. Foundation, Miyoung Lee and Neil Simpkins, and Sueyun and Gene Locks.\u003c/p\u003e\u003cp\u003eGenerous support is provided by Deutsche Bank Americas Foundation, Further Forward Foundation, Peter H. Kahng, the Samsung Foundation of Culture, and Sonya Yu.\u003c/p\u003e\u003cp language=\"JavaScript\"\u003eAdditional support is provided by Jessica and Marwan Bitar, The Cowles Charitable Trust, The Freedman Family, Girlfriend Fund, Suzanne McFayden, Alice and Manu Sareen, Lisa Perry/Onna House, Gina H. Sohn and Gregory P. Lee, Jackson Tang, and an anonymous donor.\u003c/p\u003e","primary_media_id":63457,"override_media_id":61959,"sign_media_id":61461,"feature_id":101,"artwork_series_id":null,"installation_series_id":2642,"perspective_series_id":null,"press_highlights":"\u003cp\u003e“Christine Sun Kim shines light on Deaf culture and measures sonic experience beyond the ear.” —\u003ca href=\"https://www.nytimes.com/2025/02/14/arts/design/christine-sun-kim-artist.html\"\u003e\u003cem\u003eThe New York Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Kim’s Whitney survey is the first major museum show to allow an artist confronting disability to be as expansive as she is…”\u0026nbsp;—\u003ca href=\"https://www.artnews.com/art-in-america/aia-reviews/christine-sun-kim-whitney-museum-1234731856/\"\u003e\u003cem\u003eArt in America\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...pushes the bounds of language and upends notions about how we connect with one another.”\u0026nbsp;—\u003ca href=\"https://www.wsj.com/arts-culture/fine-art/christine-sun-kim-all-day-all-night-review-lines-of-communication-at-the-whitney-airdigital-77dacfeb?mod=arts-culture_lead_pos1\"\u003e\u003cem\u003eThe Wall Street Journal\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...explores the social currency of sound and its exclusionary effects.”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.ssense.com/en-us/editorial/fashion/christine-sun-kim-artist-whitney-all-day-all-night\"\u003e\u003cem\u003eSSENSE\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...feels thorough, insightful and composed…”\u0026nbsp;—\u003ca href=\"https://www.theguardian.com/artanddesign/2025/feb/06/christine-sun-kim-whitney-exhibition-new-york\"\u003e\u003cem\u003eThe Guardian\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...fascinating and thought-provoking as it is expansive.”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://news.artnet.com/art-world/christine-sun-kim-all-day-all-night-whitney-museum-2606537\"\u003e\u003cem\u003eArtnet News\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...like a kind of revenge on a society that has long passed over disabled artists… revenge at its most gripping.” \u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.vulture.com/article/the-exhilarating-anger-of-christine-sun-kim.html\"\u003e\u003cem\u003eNew York Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...groundbreaking exhibition – utilizing sound, language, and the nuances and challenges of communication…”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.forbes.com/sites/natashagural/2025/02/06/christine-sun-kim-all-day-all-night-at-the-whitney-will-transform-your-perception-of-the-death-community/\"\u003e\u003cem\u003eForbes\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“New Yorkers, don’t miss Christine Sun Kim’s first museum survey…” \u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.anothermag.com/design-living/16132/films-exhibitions-food-and-more-brilliant-things-to-do-this-february\"\u003e\u003cem\u003eAnOther\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...perceptive, poetic, humorous, and political.”\u0026nbsp;\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://ocula.com/magazine/art-news/artists-celebrated-in-major-museum-surveys-in-2025/\"\u003e\u003cem\u003eOcula\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...expresses how sound operates in society as social currency and deconstructs the politics of sound in a witty manner.”\u0026nbsp;\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://www.koreaherald.com/article/10415504\"\u003e\u003cem\u003eThe Korea Herald\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...a homecoming of sorts…”\u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://robbreport.com/shelter/art-collectibles/in-the-studio-with-christine-sun-kim-1236164748/\"\u003e\u003cem\u003eRobb Report\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...the expansive retrospective shines a light on Kim’s exploration of Deaf lived experiences…” \u0026nbsp;\u003cem\u003e—\u003c/em\u003e\u003ca href=\"https://hypebeast.com/2024/11/christine-sun-kim-retrospective-exhibition-whitney-museum-new-york\"\u003e\u003cem\u003eHypebeast\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...iterates…how wondrous, devastating, exhausting, not enough, too much, funny, and beautiful language can be.”\u0026nbsp;—\u003ca href=\"https://hyperallergic.com/991566/christine-sun-kim-multidimensional-music-whitney-museum/\"\u003e\u003cem\u003eHyperallergic\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“...underscores the ongoing need for accessible and inclusive cultural spaces…”\u0026nbsp;—\u003cem\u003e\u003ca href=\"https://ocula.com/magazine/insights/unmissable-christine-sun-kim-at-whitney-museum/\"\u003eOcula\u003c/a\u003e\u003c/em\u003e\u003c/p\u003e\u003cp\u003e“...alert[s] us to the nuances and poetry, the joy and bitterness of living in, and also outside, the hearing world.” \u0026nbsp;—\u003ca href=\"https://www.ft.com/content/b054daa2-d401-460c-affd-79b482bef903\"\u003e\u003cem\u003eFinancial Times\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Kim's trademark wit abounds as she explores the politics of sound, and the visual-spatial modality of her native ASL.”\u0026nbsp;—\u003ca href=\"https://www.harpersbazaar.com/culture/art-books-music/a63975503/christine-sun-kim-lauren-ridloff-nyle-dimarco-interview/\"\u003e\u003cem\u003eHarper’s Bazaar\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“Go now—it’s a triumph.”\u0026nbsp;—\u003ca href=\"https://www.culturedmag.com/article/2025/03/05/new-york-christine-sun-kim-sylvia-sleigh-chris-oh\"\u003e\u003cem\u003eCultured\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e“[Kim] is on a whole different level”\u0026nbsp;—\u003ca href=\"https://www.interviewmagazine.com/art/artist-christine-sun-kim-doesnt-want-to-be-your-inspiration-pornstar\"\u003e\u003cem\u003eInterview Magazine\u003c/em\u003e\u003c/a\u003e\u003c/p\u003e","audio_description":"","videos_description":"","created_at":"2025-01-16T10:29:39.106-05:00","updated_at":"2026-02-19T14:25:43.645-05:00","block_editor":{"data":{"id":"4239","type":"block_editor","attributes":{"id":4239,"exhibition_id":1425,"page_id":null,"created_at":"2025-06-16T12:38:29.345-04:00","updated_at":"2025-06-16T12:38:29.345-04:00","regions":[{"data":{"id":"22419","type":"region","attributes":{"id":22419,"position":1,"columns":6,"block_editor_id":4239,"created_at":"2025-03-13T17:04:44.452-04:00","updated_at":"2026-02-19T14:25:43.466-05:00","region_components":[{"data":{"id":"40860","type":"region_component","attributes":{"id":40860,"component_id":14065,"component_type":"MediaComponent","position":1,"region_id":22419,"created_at":"2025-03-13T17:04:44.467-04:00","updated_at":"2026-02-19T14:25:43.483-05:00","component":{"data":{"id":"14065","type":"component","attributes":{"id":14065,"exhibition_id":1425,"media_id":61973,"url":""}}}}}}]}}},{"data":{"id":"22420","type":"region","attributes":{"id":22420,"position":2,"columns":6,"block_editor_id":4239,"created_at":"2025-03-13T17:04:44.474-04:00","updated_at":"2026-02-19T14:25:43.500-05:00","region_components":[{"data":{"id":"40861","type":"region_component","attributes":{"id":40861,"component_id":14870,"component_type":"TextComponent","position":1,"region_id":22420,"created_at":"2025-03-13T17:04:44.490-04:00","updated_at":"2026-02-19T14:25:43.516-05:00","component":{"data":{"id":"14870","type":"component","attributes":{"id":14870,"exhibition_id":1425,"text":"\u003ch3\u003eActivity guide\u003c/h3\u003e\u003cp class=\"large\"\u003eAn activity guide filled with projects that Kim made with the Whitney's Education Department. The projects respond to works in the exhibition that you can enjoy during your visit!\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1047","type":"exhibition","attributes":{"id":1047,"title":"Mark Daggett: \u0026lt;referrer.link.referrer\u0026gt;","start_time":"2001-04-01T00:00:00.000-05:00","end_time":"2001-04-30T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"April 2001","url":"/exhibitions/mark-dagget","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8252\"\u003eMark Daggett\u003c/a\u003e’s \u003cem data-pasted=\"true\"\u003e\u0026lt;referrer.link.referrer\u0026gt;\u003c/em\u003e highlights the architecture of the web as streams of information that users tap into or divert. The project pushed against the dominant metaphor of the page and book at a time when “browsing” and “bookmarking” webpages had become common language. If a user came to \u003cem\u003e\u0026lt;referrer.link.referrer\u0026gt;\u0026nbsp;\u003c/em\u003ethrough a Google search or another site that linked to the artwork, images from that site became raw material for the visual color field at the center of the project. The images of the original “referring” site would literally travel along with the user to construct Daggett’s work. If visitors directly typed or pasted in the URL without a referrer, however, the artwork would load some images from a hidden cache.\u003c/p\u003e","primary_media_id":54881,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-03-10T15:10:15.913-05:00","updated_at":"2026-02-19T13:06:20.002-05:00","block_editor":{"data":{"id":"3641","type":"block_editor","attributes":{"id":3641,"exhibition_id":1047,"page_id":null,"created_at":"2025-06-16T12:38:16.432-04:00","updated_at":"2025-06-16T12:38:16.432-04:00","regions":[{"data":{"id":"23799","type":"region","attributes":{"id":23799,"position":1,"columns":12,"block_editor_id":3641,"created_at":"2026-02-19T11:19:18.138-05:00","updated_at":"2026-02-19T13:06:19.855-05:00","region_components":[{"data":{"id":"43792","type":"region_component","attributes":{"id":43792,"component_id":15727,"component_type":"TextComponent","position":1,"region_id":23799,"created_at":"2026-02-19T11:19:18.197-05:00","updated_at":"2026-02-19T13:06:19.887-05:00","component":{"data":{"id":"15727","type":"component","attributes":{"id":15727,"exhibition_id":1047,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eMark Daggett\u003c/strong\u003e (b. 1975; Lynchburg, Virginia) is a pioneering new media artist, published author, and the CEO of Humansized Inc. He developed the website flavoredthunder.com (1997–2004) as a series of ongoing experiments related to early new media “lifestyle” and has worked for over two decades in the fields of experience and user interaction design, concept development, and strategy. His work has been displayed at Thirtieth International Film Festival Rotterdam, Netherlands (2001); DOMUS, ZKM Center for Art and Media Karlsruhe, Germany; Protein Network; \u003ca href=\"https://rhizome.org/\" data-pasted=\"true\"\u003eRhizome\u003c/a\u003e; and \u003ca href=\"https://ars.electronica.art/prix/\"\u003ePrix Ars Electronica\u003c/a\u003e (1998). He has also developed games and DVDs for major films, including \u003cem\u003eThe Matrix\u003c/em\u003e and \u003cem\u003eThe Exorcist\u003c/em\u003e. A Rockefeller New Media Arts Fellowship grant nominee, Daggett has been profiled in the\u003cem\u003e\u0026nbsp;New York Times\u003c/em\u003e, \u003cem\u003eLe Monde\u003c/em\u003e, \u003cem\u003eWIRED\u003c/em\u003e, and \u003cem\u003eSurface\u003c/em\u003e, among others. He received his MFA in new media from University of California, San Diego.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1046","type":"exhibition","attributes":{"id":1046,"title":"Andy Deck: Untitled","start_time":"2001-03-01T00:00:00.000-05:00","end_time":"2001-03-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"March 2001","url":"/exhibitions/andy-deck","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/8253\"\u003eAndy Deck\u003c/a\u003e’s \u003cem\u003eUntitled\u003c/em\u003e, an interactive digital “painting,” invited visitors to reflect on the possibilities of art in the online context of the still early web. Visually rich yet mysterious, the page features multiple cursors that jump around the project window upon clicking, while the names of artists and corporations appear side by side on a central grid. Deck points to the parity of access that had suddenly emerged online: artists and corporate entities with their respective domain names existed in the same space, each probing the potential of the internet to different ends. With \u003cem\u003eUntitled\u003c/em\u003e, Deck harnessed the new space of the web for experiences outside of productivity, commerce, or marketing.\u003c/p\u003e","primary_media_id":61310,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2023-03-09T22:35:30.174-05:00","updated_at":"2026-02-19T12:08:10.106-05:00","block_editor":{"data":{"id":"3639","type":"block_editor","attributes":{"id":3639,"exhibition_id":1046,"page_id":null,"created_at":"2025-06-16T12:38:16.405-04:00","updated_at":"2025-06-16T12:38:16.405-04:00","regions":[{"data":{"id":"23800","type":"region","attributes":{"id":23800,"position":1,"columns":12,"block_editor_id":3639,"created_at":"2026-02-19T12:07:42.940-05:00","updated_at":"2026-02-19T12:08:10.022-05:00","region_components":[{"data":{"id":"43793","type":"region_component","attributes":{"id":43793,"component_id":15728,"component_type":"TextComponent","position":1,"region_id":23800,"created_at":"2026-02-19T12:07:42.955-05:00","updated_at":"2026-02-19T12:08:10.036-05:00","component":{"data":{"id":"15728","type":"component","attributes":{"id":15728,"exhibition_id":1046,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAndy Deck\u003c/strong\u003e (b. 1968; Monterey, California) has been at the forefront of aesthetic research into the creative possibilities of the internet as a medium. Deck combines code, text, and image to demonstrate new patterns of participation and control that distinguish online presence and representation from previous artistic practices. Deck has shown his works in numerous online exhibitions and at venues such as Moving Image Gallery (1999–2001), \u003ca href=\"https://www.postmastersart.com/\"\u003ePostmasters Gallery\u003c/a\u003e (1984–2025), MediaNoche (2003–16), Location One (1998–2013), and MoMA PS1 in New York; ZKM Center for Art and Media Karlsruhe, Germany; Museum of Contemporary Art, Barcelona; Machida City Museum of Graphic Arts, Tokyo; HTTP Gallery, London; Mejan Labs (2006–8), Royal Academy of Fine Arts, Stockholm; Plato Sanat, Istanbul (2013–17); Wood Street Galleries, Pittsburgh; and the Walker Art Center, Minneapolis. His work has been awarded prizes and honorary mentions by LÚMEN_EX Digital Art Awards (2011); Prix Ars Electronica (1998); the Webby Awards (2003); VIDA 4.0 (2001); the Biennial of Ibiza (2009), and the Web Biennial 10, Istanbul (2010), among others.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1420","type":"exhibition","attributes":{"id":1420,"title":"Amy Sherald: Four Ways of Being","start_time":"2025-03-25T00:00:00.000-04:00","end_time":"2026-02-17T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"","url":"/exhibitions/amy-sherald-four-ways-of-being","primary_text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eThis artwork is featured on the building facade on Gansevoort Street across from the Whitney and the High Line.\u003c/strong\u003e\u003c/p\u003e\u003cp class=\"large\"\u003e\u003cem\u003eFour Ways of Being\u003c/em\u003e is a\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003enewly commissioned work by \u003ca href=\"/artists/19808\"\u003eAmy Sherald\u003c/a\u003e (b. 1973, Columbus, Georgia; lives and works in the New York City area). The artwork is comprised of four portraits by the artist—some never before seen in New York—and explores the intersection of past, present, and future. Each painting captures a distinct way of existing in the world. Here, she reimagines her subjects from diverse backgrounds and generations coexisting in a shared moment, inviting the viewer to contemplate the fluidity of time and the complex ways our histories shape our understanding of ourselves.\u003c/p\u003e\u003cp class=\"large\"\u003eThis installation is presented in conjunction with \u003ca href=\"/exhibitions/amy-sherald\"\u003e\u003cem\u003eAmy Sherald: American Sublime\u003c/em\u003e\u003c/a\u003e.\u003c/p\u003e\u003cp\u003e\u003cem\u003eAmy Sherald: Four Ways of Being\u0026nbsp;\u003c/em\u003eis organized by Rujeko Hockley, Arnhold Associate Curator, with David Lisbon, Curatorial Assistant.\u003c/p\u003e\u003cp\u003eThis work is part of a series of public art installations organized by the Whitney in partnership with TF Cornerstone and High Line Art.\u003c/p\u003e\u003cp\u003e\u003cem\u003eAmy Sherald: Four Ways of Being\u003c/em\u003e is part of Outside the Box programming, which is supported by a generous endowment from the Jacques and Natasha Gelman Foundation.\u003c/p\u003e\u003cp\u003eAdditional support is provided by the Artists Council.\u003c/p\u003e","primary_media_id":61287,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-01-08T10:00:37.400-05:00","updated_at":"2026-02-18T14:52:15.128-05:00","block_editor":{"data":{"id":"4229","type":"block_editor","attributes":{"id":4229,"exhibition_id":1420,"page_id":null,"created_at":"2025-06-16T12:38:29.145-04:00","updated_at":"2025-06-16T12:38:29.145-04:00","regions":[]}}}}},{"id":"2318","type":"exhibition","attributes":{"id":2318,"title":"Frank WANG Yefeng: The Levitating Perils #2","start_time":"2025-10-29T00:00:00.000-04:00","end_time":"2026-10-28T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Oct 29, 2025–","url":"/exhibitions/frank-wang-yefeng","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/21775\"\u003eFrank WANG Yefeng\u003c/a\u003e’s \u003cem\u003eThe Levitating Perils #2\u003c/em\u003e is a series of five animations that continues the artist’s explorations of identity and cultural displacement. The work features an uncanny, yet playful floating red dragon based on historical illustrations of the “Yellow Peril,” a label given to anti-Asian bias that dates back to the birth of European colonialism. The illustrations appeared in newspapers and political cartoons and featured monstrous depictions of Asian figures invading the West. The dragon specifically references the illustration \u003cem\u003eThe Ogre of the Orient\u003c/em\u003e (1904–05), shown in the background of one of the animations, and is surrounded by handwritten text snippets of the creature’s imagined utterances and deconstructed phrases sourced from “Yellow Peril” materials. A sequence of four animations switches every six hours over the course of the day, with an additional clip interspersed randomly. At certain hours a human head with tentacled horns, mapped with the artist’s facial features, appears as kin to the dragon and is tossed around by invisible forces, an allegory of the turbulent existence of a transnational self. Yefeng immerses viewers in imaginations that dissolve boundaries between myth and history, inviting them into a speculative space.\u0026nbsp;\u003c/p\u003e","primary_media_id":63845,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2025-10-08T12:10:37.069-04:00","updated_at":"2026-02-17T17:31:41.518-05:00","block_editor":{"data":{"id":"5922","type":"block_editor","attributes":{"id":5922,"exhibition_id":2318,"page_id":null,"created_at":"2025-10-08T12:10:37.062-04:00","updated_at":"2025-10-08T12:10:37.062-04:00","regions":[{"data":{"id":"23604","type":"region","attributes":{"id":23604,"position":1,"columns":12,"block_editor_id":5922,"created_at":"2025-10-27T11:27:17.607-04:00","updated_at":"2026-02-17T17:31:41.450-05:00","region_components":[{"data":{"id":"43306","type":"region_component","attributes":{"id":43306,"component_id":15594,"component_type":"TextComponent","position":1,"region_id":23604,"created_at":"2025-10-27T11:27:17.647-04:00","updated_at":"2026-02-17T17:31:41.463-05:00","component":{"data":{"id":"15594","type":"component","attributes":{"id":15594,"exhibition_id":2318,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eFrank WANG Yefeng\u003c/strong\u003e (b. 1984, Shanghai, China) is a transdisciplinary artist living between New York City and Shanghai. Initially trained as a sculptor, Yefeng’s practice spans a wide range of media, including video, experimental 3D animation, painting, drawing, and writing. His art explores the experience of \"in-betweenness\" that arises from a nomadic transnational existence. His projects have been featured in exhibitions internationally, including High Line Originals, New York; Shanghai Museum of Glass, Shanghai, China; the BRIC Biennial, New York, and OCAT Biennial, Shenzhen, China; CCS Bard Hessel Museum of Art, Annandale-on Hudson, NY; Smack Mellon and International Studio \u0026amp; Curatorial Program (ISCP), New York City; Gasworks London, UK; Jeju Museum of Contemporary Art, Korea; and Hyundai Motorstudio, Beijing, China, among others. Yefeng has also been awarded residencies, fellowships, and commissions at K11 Art Foundation x ArtReview (Wuhan, China, and New York); Pratt Institute, Asia Art Archive in America, MacDowell, and Vermont Studio Center.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"1408","type":"exhibition","attributes":{"id":1408,"title":"Ashley Zelinskie: Twin Quasar","start_time":"2024-11-12T00:00:00.000-05:00","end_time":"2025-11-12T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2024","url":"/exhibitions/twin-quasar","primary_text":"\u003cp class=\"large\"\u003e\u003ca href=\"/artists/21575\"\u003eAshley Zelinskie\u003c/a\u003e’s \u003cem\u003eTwin Quasar\u003c/em\u003e is a\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003ethree-dimensional artwork and space in the Whitney Museum Virtual Landscape that intertwines science with art history, building on the artist’s eight-year coordination with NASA's James Webb Space Telescope team and discussions with Tim Rawle, a scientist at the European Space Agency. The work uses two pieces from the Whitney Museum’s collection—\u003ca href=\"/artists/902\"\u003eLászló Moholy-Nagy\u003c/a\u003e’s painting\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/collection/works/357\"\u003e\u003cem\u003eSpace Modulator\u003c/em\u003e\u003c/a\u003e (1938–1940) and \u003ca href=\"/artists/188\"\u003eRosalind Bengelsdorf Browne\u003c/a\u003e’s watercolor\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003ca href=\"/collection/works/2024\"\u003e\u003cem\u003eCompotier II\u003c/em\u003e\u003c/a\u003e (1938)—as sources and turns them into navigable 3D models, drawing parallels between phenomena in physics and the artists' exploration of space and form. When viewers approach the 3D models of the original works, the forms depicted in them reveal themselves as protruding from the virtual canvas, becoming layered in three-dimensional space and allowing viewers to navigate through the abstract shapes. The experience replicates the effects of gravitational lensing, a cosmic event occurring when massive objects such as black holes, galaxies, or dark matter bend light around spacetime, creating natural lenses that both magnify and distort. Gravitational lensing was first observed at an observatory in Arizona where scientists saw the light of a quasar—an extremely luminous galactic object—through a galaxy, and it appeared as though there were two quasars.\u003c/p\u003e\u003cp\u003eThis artwork is best experienced on a desktop device. It can also be experienced in the Apple Vision Pro through the \u003ca href=\"https://apps.apple.com/us/app/museum-explore-immersive-art/id6692502746\"\u003eMONA Museum app\u003c/a\u003e, allowing viewers to dynamically adjust their immersion between virtual and physical realities.\u003c/p\u003e\u003cp\u003eTechnical development for \u003cem\u003eTwin Quasar\u0026nbsp;\u003c/em\u003eis provided by James Tunick: CEO \u003ca href=\"https://www.theimclab.com/\" target=\"_blank\" title=\"https://linkprotect.cudasvc.com/url?a=https%3a%2f%2fwww.theimclab.com%2f\u0026c=E,1,5g981oBxs5ASR8PLV0dHanx-EkQI6YTjd3wYxUlEeP8g46VT-Xs-LhrqnFYgSyNOvXeIWndAoV3kLuH8n70goLbQbE9ZTUzowEiFzwPd1lQfCLuK\u0026typo=1\" rel=\"noopener noreferrer\" data-linkindex=\"0\" data-auth=\"NotApplicable\" data-outlook-id=\"6d06700c-70b6-41c8-95bc-44d35c18fffe\"\u003eThe IMC Lab\u003c/a\u003e\u003c/p\u003e","primary_media_id":60862,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2024-10-18T14:19:55.718-04:00","updated_at":"2026-02-11T16:43:14.876-05:00","block_editor":{"data":{"id":"4209","type":"block_editor","attributes":{"id":4209,"exhibition_id":1408,"page_id":null,"created_at":"2025-06-16T12:38:28.921-04:00","updated_at":"2025-06-16T12:38:28.921-04:00","regions":[{"data":{"id":"22271","type":"region","attributes":{"id":22271,"position":1,"columns":12,"block_editor_id":4209,"created_at":"2025-02-19T09:52:08.157-05:00","updated_at":"2026-02-11T16:43:14.823-05:00","region_components":[{"data":{"id":"40588","type":"region_component","attributes":{"id":40588,"component_id":14794,"component_type":"TextComponent","position":1,"region_id":22271,"created_at":"2025-02-19T09:52:08.165-05:00","updated_at":"2026-02-11T16:43:14.835-05:00","component":{"data":{"id":"14794","type":"component","attributes":{"id":14794,"exhibition_id":1408,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAshley Zelinskie\u003c/strong\u003e (b. 1987) is a Brooklyn-based conceptual artist employing media as vehicles in service of underlying concepts. Her works span a variety of media, from sculpture, canvas and print works to digital art, VR, and holograms. Each artwork is created using technologies such as 3D printing, computer-guided laser cutting, satellite plating technology, and gaming engines. Her work focuses on visualizing data in abstract forms and finding new and interesting ways to describe complex ideas. Ashley’s work has been featured by The New York Times, The New Yorker, Vice, Popular Science, Space.com, and Hyperallergic. Her work forms part of the permanent collection of the US Department of State Art in Embassies Program, has been exhibited at Sotheby’s New York, ArtScience Museum in Singapore and Art Center Nabi in Seoul. Ashley is a former resident of New Inc., the New Museum’s Art and Technology Incubator, and the Shapeways x  Museum of Art and design “Out of Hand” exhibition residency. She is currently working in coordination with NASA, the European Space Agency, and the Smithsonian and is a member of Onassis ONX XR studio in New York City.\u003c/p\u003e"}}}}}}]}}}]}}}}},{"id":"280","type":"exhibition","attributes":{"id":280,"title":"Casey Reas:\u003cbr\u003eSoftware Structures","start_time":"2004-08-01T00:00:00.000-04:00","end_time":"2016-08-31T00:00:00.000-04:00","member_start_time":null,"member_end_time":null,"date_override":"Launched 2004, Restored 2016","url":"/exhibitions/software-structures","primary_text":"\u003cp class=\"large\"\u003eInspired by Sol LeWitt's wall drawings, \u003cem\u003e{Software} Structures\u003c/em\u003e explores the relevance of conceptual art to the idea of software as art. \u003ca href=\"http://reas.com\"\u003eCasey Reas\u003c/a\u003e created three unique structures—text descriptions outlining dynamic relations between elements—which were then implemented: twenty-six pieces of software derived from the textual structures were coded to isolate different components, including interpretation, material, and process. For each of them, you may view the software, source code, and comments.\u003c/p\u003e\u003cp class=\"large\"\u003e\"The catalyst for this project is the work of Sol LeWitt, specifically his wall drawings. I had a simple question: 'Is the history of conceptual art relevant to the idea of software as art?'\" explains Reas. \"I began to answer the question by implementing three of Lewitt's drawings in software and then making modifications. After working with the LeWitt plans, I created three structures unique to software. These software structures are text descriptions outlining dynamic relations between elements. They develop in the vague domain of image and then mature in the more defined structures of natural language before any thought is given to a specific machine implementation. Twenty-six pieces of software derived from these structures were written to isolate different components of software structures including interpretation, material, and process. For each, you may view the software, source code, and comments.\"\u003c/p\u003e\u003cp class=\"large\"\u003eOriginally created by Casey Reas with \u003ca href=\"http://levitated.net/\" target=\"_self\"\u003eJared Tarbell\u003c/a\u003e, \u003ca href=\"http://flight404.com/\"\u003eRobert Hodgin\u003c/a\u003e, and \u003ca href=\"http://metaphorical.net/\"\u003eWilliam Ngan\u003c/a\u003e, \u003cem\u003e{Software} Structures\u0026nbsp;\u003c/em\u003ewas restored by Reas in 2016 to work well with contemporary web browsers. The original software was created as Java Applets which are no longer widely supported in web browsers. The updated version uses JavaScript to be more accessible.\u003c/p\u003e\u003cp class=\"large\"\u003e\u003ca href=\"https://artport.whitney.org/commissions/software-structures-2016/text.html\"\u003eRead more about this project\u003c/a\u003e.\u003c/p\u003e\u003cp\u003eSome of the works within this project rely on Flash or Java applets, emulated through \u003ca href=\"https://ruffle.rs/\"\u003eRuffle\u003c/a\u003e and \u003ca href=\"https://cheerpj.com/\"\u003eCheerpJ\u003c/a\u003e to run in modern browsers.\u003c/p\u003e","primary_media_id":2571,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2018-07-20T10:47:29.000-04:00","updated_at":"2026-02-10T12:04:03.532-05:00","block_editor":{"data":{"id":"2439","type":"block_editor","attributes":{"id":2439,"exhibition_id":280,"page_id":null,"created_at":"2025-06-16T12:34:36.720-04:00","updated_at":"2025-06-16T12:34:36.720-04:00","regions":[]}}}}},{"id":"277","type":"exhibition","attributes":{"id":277,"title":"Andy Deck: Screening Circle","start_time":"2006-01-01T00:00:00.000-05:00","end_time":"2006-12-31T00:00:00.000-05:00","member_start_time":null,"member_end_time":null,"date_override":"2006","url":"/exhibitions/screening-circle","primary_text":"\u003cp class=\"large\"\u003eAndy Deck's \u003cem\u003e\u003ca href=\"http://www.artcontext.net/act/05/screeningCircle/\"\u003eScreening Circle\u003c/a\u003e\u003c/em\u003e\u003cem\u003e\u0026nbsp;\u003c/em\u003eadapts the cultural tradition of the quilting circle into an online format. Visitors to the site can enter the drawing area to compose loops of graphics and affect and edit each other's screens. The pieces can be made by one person or by several people and the arrangement of the segments can be haphazard or precise. In the screening area, the resulting motion graphics will be on view instantaneously. The \"circle\" invoked in the title refers to the circle of participants, and, indirectly, to the loop of images that are produced. \"Screening\" refers to the pre-viewing of film in the film making process. It is a form of viewing that allows people to have some influence over the final product.\u003c/p\u003e\u003cp\u003e\u003cem\u003eScreening Circle\u003c/em\u003e\u003cspan\u003e\u0026nbsp;is the third in a series of three works co-commissioned in collaboration with\u0026nbsp;\u003c/span\u003e\u003ca href=\"http://www.tate.org.uk/intermediaart/\"\u003eTate Online\u003c/a\u003e\u003cspan\u003e. Critical texts and video interviews with the artists will accompany the works at Tate.\u003c/span\u003e\u003c/p\u003e\u003cp\u003eRead more at \u003ca href=\"http://www.tate.org.uk/intermediaart/entry15384.shtm\"\u003etate.org.uk\u003c/a\u003e.\u003c/p\u003e","primary_media_id":2567,"override_media_id":null,"sign_media_id":null,"feature_id":null,"artwork_series_id":null,"installation_series_id":null,"perspective_series_id":null,"press_highlights":"","audio_description":"","videos_description":"","created_at":"2018-07-20T10:33:08.000-04:00","updated_at":"2026-02-03T16:17:06.456-05:00","block_editor":{"data":{"id":"2433","type":"block_editor","attributes":{"id":2433,"exhibition_id":277,"page_id":null,"created_at":"2025-06-16T12:34:36.613-04:00","updated_at":"2025-06-16T12:34:36.613-04:00","regions":[{"data":{"id":"22177","type":"region","attributes":{"id":22177,"position":1,"columns":12,"block_editor_id":2433,"created_at":"2025-02-19T09:52:01.570-05:00","updated_at":"2026-02-03T16:17:06.379-05:00","region_components":[{"data":{"id":"40448","type":"region_component","attributes":{"id":40448,"component_id":14716,"component_type":"TextComponent","position":1,"region_id":22177,"created_at":"2025-02-19T09:52:01.577-05:00","updated_at":"2026-02-03T16:17:06.393-05:00","component":{"data":{"id":"14716","type":"component","attributes":{"id":14716,"exhibition_id":277,"text":"\u003cp class=\"large\"\u003e\u003cstrong\u003eAndy Deck\u003c/strong\u003e specializes in Internet art and has been at the forefront of\u2028 aesthetic research into the creative possibilities of the Internet as a \u2028medium. His work addresses the politics and aesthetics of collaboration, \u2028interactivity, software, and independent media. At his website\u2028 \u003ca href=\"http://www.artcontext.net/\"\u003eARTCONTEXT.NET\u003c/a\u003e, Deck combines code, text, and image to demonstrate new \u2028patterns of participation and control that distinguish online presence and\u2028 representation from previous artistic practices. He is also a co-founder \u2028of Transnational Temps, an arts collective concerned with making Earth Art\u2028 for the 21st Century. Included in the ground-breaking European EcoMedia\u2028 exhibitions, the group went on in 2010 to mount the exhibition \u2028Spill»Forward in response to the oil spill in the Gulf of Mexico.\u003c/p\u003e\u003cp class=\"large\"\u003eDeck's works have been shown in numerous online exhibitions and at venues \u2028such as the ZKM Center for Art and Media, Karlsruhe; Museum of Contemporary \u2028Art, Barcelona; Machida City Museum, Tokyo; PS1-MoMA, NYC; Moving Image\u2028 Gallery, NYC; Media Noche, NYC; HTTP Gallery, London; Postmaster's Gallery, \u2028NYC; Location One, NYC; Mejan Labs, Stockholm; Plato Sanat, Istanbul; Wood\u2028 Street Gallery, Pittsburgh; and Walker Art Center, Minneapolis. His work\u2028 has been awarded prizes and honorary mentions in various contexts, including Prix Ars \u2028Electronica, the Webby Awards, VIDA 4.0, the Biennial of Ibiza, the Web\u2028 Biennial of Istanbul, etc. In 2011 his work was awarded first prize in the \u2028interactive division of the LÚMEN_EX Digital Art Awards. Deck lives and works in New York City.\u003c/p\u003e"}}}}}}]}}}]}}}}}],"meta":{"total":1613},"links":{"prev":null,"next":"https://whitney.org/api/exhibitions?page=2","first":"https://whitney.org/api/exhibitions?page=1","last":"https://whitney.org/api/exhibitions?page=54"}}