Shifting Landscapes

Nov 1, 2024–Jan 25, 2026

People gazing at a mosaic that looks like land on fire, behind a mossy sculpture on the ground with different shades of green.

While the landscape genre has long been associated with picturesque vistas, Shifting Landscapes considers a more expansive interpretation of the category, exploring how evolving political, ecological, and social issues motivate artists as they attempt to represent the world around them. Drawn from the Whitney’s collection, the exhibition features works from the 1960s to the present and is organized according to distinct thematic sections. Some of these coalesce around material and conceptual affinities: sculptural assemblages formed from locally sourced objects, ecofeminist approaches to land art, and the legacies of documentary landscape photography. Others are tied to specific geographies, such as the frenzied cityscape of modern New York or the experimental filmmaking scene of 1970s Los Angeles. Still others show how artists invent fantastic new worlds where humans, animals, and the land become one. Whether depicting the effects of industrialization on the environment, grappling with the impact of geopolitical borders, or proposing imagined spaces as a way of destabilizing the concept of a “natural” world, the works gathered here bring ideas of land and place into focus, foregrounding how we shape and are shaped by the spaces around us.

Shifting Landscapes is organized by Jennie Goldstein, Jennifer Rubio Associate Curator of the Collection; Marcela Guerrero, DeMartini Family Curator; Roxanne Smith, Senior Curatorial Assistant; with Angelica Arbelaez, Rubio Butterfield Family Fellow; with thanks to Araceli Bremauntz-Enriquez and J. English Cook for research support.

Review accessibility information before visiting Shifting Landscapes.

Major support for Shifting Landscapes is provided by Judy Hart Angelo, the Henry Luce Foundation, and the Whitney’s National Committee.

Significant support is provided by the Terra Foundation for American Art.

Generous support is provided by The Keith Haring Foundation Exhibition Fund.

Installation photography

Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: rafa esparza, New American Landscapes. Self Portrait: Catching Feelings (Ecstatic), 2017; Ulysses Jenkins, Without Your Interpretation, 1983; Purvis Young, Angel, City, and Eye Assemblage, c. 1990-95; Arch Connelly, Personal Explosion, 1984; Arch Connelly, Leaf, 1982; Dalton Gata, I Don't Need You To Be Warm, 2021. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: LaToya Ruby Frazier, Landscape of the Body (Epilepsy Test), 2011; Nicole Soto Rodríguez, Acto #2 Templo Del Maestro, 2015; Clockwise, from top left: Robert Adams, Motel, Colorado Springs, 1969, printed c. 1970; Robert Adams, Along Interstate 25, Eden, Colorado, 1968; Robert Adams, Colorado, c. 1973; Robert Adams, Colorado, c. 1970; Robert Adams, Outdoor Theater, Colorado Springs, Colorado, 1968-71; Robert Adams, Colorado, c. 1973; Robert Adams, Longmont, Colorado, c. 1973; Robert Adams, Interstate 25, north edge of Denver, Colorado, 1973-74. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Martha Jane Pettway, Sweep, 1980; Purvis Young, Overtown, 1988; Lonnie Holley, Untitled, 1995; Purvis Young, Ants and the Establishment, c. 1980-85; Bessie Harvey, Cross Bearers, 1993; Joe Minter, The First Fireplace, 1998; Firelei Báez, Untitled (Tabula Anemographica seu Pyxis Navtic), 2021. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). Front: Maya Lin, Ghost Forest Baseline Y, 2022. Back, from left to right: Carolina Caycedo, Rio Ribeira, 2016; Carolina Caycedo, The Binding/El amarre, 2017; Kunié Sugiura, Tree Trunk 1, 1971. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Patrick Martinez, Migration Is Natural, 2019, fabricated 2021; Leslie Martinez, A Sublime Concealment of Time, 2023; Amalia Mesa-Bains, Cihuateotl with Hand Mirror from Venus Envy Chapter III: Cihuatlampa, the Place of the Giant Women, 1997-2022; Maya Lin, Ghost Forest Baseline Y, 2022; Carlos Villa, My Roots, 1970-71; Suzanne Jackson, It is our woods, 1973; Luis Jimenez, Sidewinder, 1988; Guadalupe Maravilla, Requiem for my border crossing and my undocumented father's #6, 2016-18; Teresita Fernández, Fire (America) 3, 2016. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Jean-Michel Basquiat, Untitled, 1980; Miguel Luciano, The People's Pulpit, 2022; Hiram Maristany, Hydrant: In the Air, 1963 (printed 2021); Hiram Maristany, Juan Gonzalez, Minister of Education of the Young Lords, at original storefront office headquarters, 1969 (printed 2021); Sophie Rivera, Untitled, c. 1982; Sophie Rivera, Untitled, c. 1982; John Ahearn, Miss Kate, 1982; Rigoberto Torres, Julio, José, and Junito, 1991/1995; Tabboo!, Looking Uptown from My Roof, 1998; Yuji Agematsu, Zip; 07-01-12 - 07-31-12, 2012; Martin Wong, Big Heat, 1986; Peter Hujar, West Side Parking Lots, NYC, 1976; Peter Hujar, No Parking, 1976. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Piliāmo‘o, Ka iʻa hao, 10.7.90, 1990; Piliāmo‘o, Hoʻopālua ʻia ka mana wai o Hālawa, 9.8.91, 1991; Piliāmo‘o, Hoʻopulu ke kuahiwi me ka mano wai, 5.13.90, 1990; An-My Lê, 29 Palms: Guard, Combat Operations Center, 2003-04; Keith Mayerson, 9-11, 2007; Jane Dickson, Heading in – Lincoln Tunnel 3, 2003; Salman Toor, Man with Face Creams and Phone Plug, 2019. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Chioma Ebinama, amor mundi, 2021; Mundo Meza, Merman with Mandolin, 1984; María Berrío, A Universe of One, 2018. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Purvis Young, Overtown, 1988; Purvis Young, Ants and the Establishment, c. 1980-85; Park McArthur, Blank, 2014; Trevor Shimizu, Pond, 2021. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Firelei Báez, Untitled (Tabula Anemographica seu Pyxis Navtic), 2021; Martine Gutierrez, Demons, Xochipilli 'The Flower Prince,' p91 from Indigenous Woman, 2018, printed 2020; rafa esparza, New American Landscapes. Self Portrait: Catching Feelings (Ecstatic), 2017. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). Artie Vierkant, Exposure Adjustment on a Sunset, 2009. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). Ulysses Jenkins, Without Your Interpretation, 1983. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). Melvonna Ballenger, Rain (Nyesha), 1978. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: rafa esparza, New American Landscapes. Self Portrait: Catching Feelings (Ecstatic), 2017; Theo Triantafyllidis, BugSim (Pheromone Spa), 2023; Mundo Meza, Merman with Mandolin, 1984. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Donna Huanca, GUERRERA PROTECTORA (pacha), 2021; Alison Saar, Fall, 2011. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: María Berrío, A Universe of One, 2018; Donna Huanca, GUERRERA PROTECTORA (pacha), 2021; Alison Saar, Fall, 2011; Firelei Báez, Untitled (Tabula Anemographica seu Pyxis Navtic), 2021. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Agnes Denes, Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - Aerial View, 1982; Agnes Denes, Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - With Statue of Liberty Across the Hudson - 2, 1982; Nancy Holt, Locator (Studio Corner), 1971; Gordon Matta-Clark, Tree Dance, 1971; Jenny Calivas, Self-Portrait While Buried #16, 2021, printed 2023; Jenny Calivas, Self-Portrait While Buried #1, 2019, printed 2023; Laura Aguilar, Three Eagles Flying, 1990. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). Front: Maya Lin, Ghost Forest Baseline Y, 2022. Back, from left to right: Emmi Whitehorse, Tide Mark, 2023; Emmi Whitehorse, Black Sea II, 2000; Michelle Stuart, #28 Moray Hill, 1974. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Miguel Luciano, The People's Pulpit, 2022; Hiram Maristany, Hydrant: In the Air, 1963, printed 2021; Hiram Maristany, Juan Gonzalez, Minister of Education of the Young Lords, at original storefront office headquarters, 1969, printed 2021; Sophie Rivera, Untitled, c. 1982; Sophie Rivera, Untitled, c. 1982; John Ahearn, Miss Kate, 1982; Rigoberto Torres, Julio, José, and Junito, 1991/1995; Tabboo!, Looking Uptown from My Roof, 1998; Michael Joo, Salt Transfer Cycle, 1994; Piliāmo‘o, Hoʻopulu ke kuahiwi me ka mano wai, 5.13.90, 1990; An-My Lê, 29 Palms: Guard, Combat Operations Center, 2003-04. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). Left wall, clockwise from top left: Robert Adams, Motel, Colorado Springs, 1969, printed c. 1970; Robert Adams, Along Interstate 25, Eden, Colorado, 1968; Robert Adams, Colorado, c. 1973; Robert Adams, Colorado, c. 1970; Robert Adams, Outdoor Theater, Colorado Springs, Colorado, 1968-71; Robert Adams, Colorado, c. 1973; Robert Adams, Longmont, Colorado, c. 1973; Robert Adams, Interstate 25, north edge of Denver, Colorado, 1973-74. From left to right: Teresita Fernández, Fire (America) 3, 2016; Anita Steckel, NY Skyline on Canvas #1 (Woman Pressing Finger Down), c. 1970-74. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 2026). From left to right: Piliāmo‘o, Ka iʻa hao, 10.7.90, 1990; Piliāmo‘o, Hoʻopālua ʻia ka mana wai o Hālawa, 9.8.91, 1991; Piliāmo‘o, Hoʻopulu ke kuahiwi me ka mano wai, 5.13.90, 1990; An-My Lê , 29 Palms: Guard, Combat Operations Center, 2003-04; Artie Vierkant, Exposure Adjustment on a Sunset, 2009; LaToya Ruby Frazier, Landscape of the Body (Epilepsy Test), 2011. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Yuji Agematsu, Zip; 07-01-12 - 07-31-12, 2012; Martin Wong, Big Heat, 1986; Peter Hujar, Columbia Service Station, 1976; Peter Hujar, Canal Street Piers: Fake Men on the Stairs, 1983. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). Top to bottom: Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Enrique Chagoya, Les Aventures des Cannibales Modernistes, 1999. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Firelei Báez, Untitled (Tabula Anemographica seu Pyxis Navtic), 2021; David Benjamin Sherry, Manorathadayakas, 2008; rafa esparza, New American Landscapes. Self Portrait: Catching Feelings (Ecstatic), 2017. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Agnes Denes, Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - Blue Sky,World Trade Center, 1982; Agnes Denes, Wheatfield - A Confrontation: Battery Park Landfill, Downtown Manhattan - Aerial View 2, 1982; Nancy Holt, Locator (Studio Corner), 1971; Gordon Matta-Clark, Tree Dance, 1971; Ana Mendieta, Esculturas Rupestres, 1981; Laura Aguilar, Three Eagles Flying, 1990; Amalia Mesa-Bains, Cihuateotl with Hand Mirror from Venus Envy Chapter III: Cihuatlampa, the Place of theGiant Women, 1997-2022. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Felipe Baeza, The self must create its own reason for being, 2022; Mundo Meza, Merman with Mandolin, 1984; Chuck Ramirez, Candy Tray: Godiva 3, 2002, printed 2021. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Keith Haring, Untitled, 1981; Tseng Kwong Chi, New York, New York (Statue of Liberty), 1979; Kenji Nakahashi, A Cut-Out Sky (Marketfield St. Between Beaver St. & Broad St., N.Y.C.), 1984; Kenji Nakahashi, A Cut-Out Sky (The Corner of Exchange Pl. & William St., N.Y.C.), 1979; Diane Burns, Alphabet City Serenade, 1988. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Pao Houa Her, Untitled (Como Park Conservatory), 2017, printed 2022; Nicole Soto Rodriguez, Acto #2 Templo Del Maestro, 2015. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Piliāmo‘o, He hai ʻonaʻona kēia, 9.15.91, 1991; Piliāmo‘o, Hele kohana ma ka hala o Kekele, 9.30.89, 1989; Piliāmo‘o, Paʻa ʻole i ke ʻālana moku, 4.28.91, 1991; An-My Le, 29 Palms: Security and Stability Operations (Good Saddam), 2003-04. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). From left to right: Hiram Maristany, Young Lords, The Garbage Offensive, 1969, printed 2021; Hiram Maristany, Lechón / Roasting Pig in Alley, 1971, printed 2021; Sophie Rivera, Untitled, c. 1982; Sophie Rivera, Untitled, c. 1982; John Ahearn, Miss Kate, 1982; Rigoberto Torres, Julio, José, and Junito, 1991/1995; Tabboo!, Looking Uptown from My Roof, 1998. Photograph by Ron Amstutz
Installation view of Shifting Landscapes (Whitney Museum of American Art, New York, November 1, 2024-January 25, 2026). Left wall, clockwise from top left: Robert Adams, Colorado, c. 1968-72; Robert Adams, Colorado Springs, Colorado, 1979, print date unknown; Robert Adams, Sheridan Boulevard, Lakewood, c. 1970; Robert Adams, Untitled, 1968-72; Robert Adams, Untitled, n.d.; Robert Adams, Untitled, 1968-72; Robert Adams, Colorado Springs, 1970; Robert Adams, Colorado, c. 1973; From left to right: Amalia Mesa-Bains, Cihuateotl with Hand Mirror from Venus Envy Chapter III: Cihuatlampa, the Place of theGiant Women, 1997-2022; Guadalupe Maravilla, Requiem for my border crossing (Collaborative drawing between the undocumented) #12, 2018; Teresita Fernández, Fire (America) 3, 2016. Photograph by Ron Amstutz