Artist Studio Visits on Monday 9 December 2024

Artists_AC

We are delighted to offer this special add-on program of studio visits with a select group of leading artists working in Los Angeles today, scheduled for Monday, December 9. CIMAM 2024 will offer complimentary shuttle bus transportation to the four tours provided below. Seats are limited and first come first serve. Delegates must commit to the entire tour. Each tour will be guided by a MOCA curator. Registration required.

Pick up will be at MOCA Grand Avenue at 9:30am.

Drop off will be at 2:30pm.

*Bring drinks and snacks, as there is no time for lunch stops.


Tour #1: Downtown / Chinatown

Rodney McMillian

(b. 1969, Columbia, South Carolina; lives and works in Los Angeles)

Rodney McMillian explores the complex and fraught connections between history and contemporary culture, not only as they are expressed in American politics, but also as they are manifest in American modernist art traditions. Aspects of his work negotiates between the body of a political nature and the politic of a bodily nature.

McMillian received an MFA from the California Institute of the Arts in 2002. His installation In this land was on view as part of the New Work series at the San Francisco Museum of Modern Art (2019). He received the Contemporary Austin’s first Suzanne Deal Booth Art Prize in 2016, and the resulting solo exhibition Against a Civic Death was on view in 2018. McMillian had solo exhibitions at the ICA Philadelphia, the Studio Museum in Harlem, and MoMA PS.1, all 2016. Each of these exhibitions highlighted a particular set of material and conceptual concerns in McMillian’s multivalent practice. Other recent solo exhibitions include Landscape Paintings, Aspen Art Museum (2015); Sentimental Disappointment Momentum 14: Rodney McMillian, The Institute of Contemporary Art, Boston (2009); The Kitchen, New York (2008). McMillian’s work was featured in the 2015 Sharjah Biennial curated by Eungie Joo.

Charles Gaines

(b. 1944, Charleston, North Carolina; lives and works in Los Angeles)

A pivotal figure in the field of conceptual art, Charles Gaines engages formulas and systems that interrogate relationships between the objective and the subjective realms. Using a generative approach to create a series of works in a variety of mediums, he has built a bridge between the early conceptual artists of the 1960s and 1970s and subsequent generations of artists pushing the limits of conceptualism today.

Gaines lives and works in Los Angeles. He recently retired from the CalArts, where he was on faculty for over 30 years (influencing generations of artists) and established a fellowship to provide critical scholarship support for Black students. Gaines has been the subject of numerous exhibitions in the United States and around the world, most notably at Institute of Contemporary Art, Miami; Dia Beacon, San Francisco Museum of Modern Art, The Studio Museum in Harlem, New York, and the Hammer Museum, Los Angeles. His work has also been presented at the 1975 Whitney Biennial and the Venice Biennale in 2007 and 2015. In 2022 Gaines launched his most ambitious public art project yet, ‘The American Manifest,’ presented by Creative Time, Governors Island Arts and Times Square Arts.

Joey Terrill

(b. 1955, Los Angeles; lives and works in Los Angeles)

Joey Terrill combines diverse media of zine-making, performance and painting in a body of work that tenderly encompasses his intimate experiences of intersecting queer, Chicano and artistic communities. Drawing from the existing visual culture surrounding him, Terrill combines personal photographs, found pop cultural imagery and reproductions of artworks by queer predecessors to conjure utopian landscapes. While Terrill’s early work captures intimacies between friends and lovers at the start of the AIDS crisis in his characteristic flat style, his later paintings trace developments in photorealism and Conceptual art, reflecting the artist’s discursive relationship to illusionistic space.

Recognized for his enduring AIDS activism, Terrill served as the Director of Global Advocacy and Partnerships for the AIDS Healthcare Foundation until recently. Terrill’s work is currently on view in Made in L.A. 2023: Acts of Living, Hammer Museum, Los Angeles and Copy Machine Manifestos: Artists Who Make Zines, Brooklyn Museum. He has exhibited solo exhibitions at Marc Selwyn Fine Art, Los Angeles (2024); Ortuzar Projects, New York (2023, 2021); Park View / Paul Soto, Los Angeles (2022); ONE Gallery, West Hollywood (2013); Ohio Union, Ohio State University, Columbus (2013); Norris Fine Art Gallery, Los Angeles (1993); Score Bar, Los Angeles (1984); and Windows on White Street, New York (1981).

Elliott Hundley

(b. 1975, Greenboro, North Carolina; lives and works in Los Angeles)

Elliott Hundley expands traditional notions of collage in a multidisciplinary practice of painting, drawing, sculpture and photography that synthesizes ancient epics, futuristic narratives, and contemporary realities. The resulting works resemble theatrical landscapes that delve into the artist’s psyche, reflecting Hundley’s desire to create a new personal mythology. In 2019, Hundley inaugurated the exhibition series Open House at MOCA, Los Angeles, exploring how the visual and material logic of collage has informed artists in MOCA’s collection, as well as his own practice. In Fall 2021, Hundley unveiled a new 40-ft mural as part of contemporary art triennial Prospect New Orleans.

Elliott Hundley’s work is included in significant international public collections including The Broad, Los Angeles, DESTE Foundation for Contemporary Art, Athens, Hammer Museum, Los Angeles, Istanbul Museum of Modern Art, Los Angeles County Museum of Art, Louisiana Museum of Modern Art, Humlebæk, Denmark, Museum of Contemporary Art, Los Angeles, Museum of Modern Art, New York, Nasher Sculpture Center, Dallas, Pérez Art Museum Miami, San Francisco Museum of Modern Art, Solomon R. Guggenheim Museum, New York, Vancouver Art Gallery, Walker Art Center, Minneapolis, and the Whitney Museum of American Art, New York.


Tour #2: East / Alhambra / Altadena

Paul McCarthy

(b. 1945, Salt Lake City, Utah; lives and works in Los Angeles)

Paul McCarthy is widely considered to be one of the most influential and groundbreaking contemporary American artists. His multi-faceted artistic practice breaks the limitations of painting by using unorthodox materials such as bodily fluids and food. He has since become known for visceral, often hauntingly humorous work in a variety of mediums—from performance, photography, film and video, to sculpture, drawing and painting.

Solo exhibitions were held at KODE, Bergen (2021); Hammer Museum, Los Angeles (2020) Museum of Fine Arts Leipzig (2018); M Woods, Beijing (2018); Faurschou Foundation in Venice (2017); Fundació Gaspar, Barcelona (2017); Kulturzentrum Lokremise, St.Gallen (2016); The Renaissance Society, Chicago (2015); Monnaie de Paris (2014); Neue Nationalgalerie, Berlin (2012); Whitney Museum, New York (2008); SMAK, Ghent (2007); Moderna Museet, Stockholm (2006); and Haus der Kunst, Munich (2005). He has also participated in many international events, including the Berlin Biennial (2006); the Whitney Biennial (1995, 1997, 2004); and the Venice Biennale (1993, 1999, 2001).

Andrea Bowers

(b. 1965, Wilmington, Ohio; lives and works in Los Angeles)

For over thirty years, Andrea Bowers has made art across a variety of mediums, from video to colored pencil to installation art, that activates. Her work combines an artistic practice with activism and advocacy, speaking to deeply entrenched social and political inequities as well as the generations of activists working to create a fairer and more just world. Bowers was recently appointed co-chair of MOCA’s Environmental Council.

Recent solo exhibitions include Andrea Bowers: Recognize Yourself as Land and Water, Vielmetter Los Angeles Projects, Los Angeles (2024); Moving in Space without Asking Permission, Fondazione Furla and GAM – Galleria d’Arte Moderna, Milan, Italy (2022); Andrea Bowers, curated by Michael Darling and Connie Butler, Hammer Museum, Los Angeles (2022) and Museum of Contemporary Art, Chicago (2021); Grief and Hope, Abteiberg Museum, Mönchengladbach, Germany (2020); Light and Gravity, Weserburg Museum, Bremen, Germany (2019); Climate Change is Real, Yerba Buena Center for the Arts, San Francisco, CA (2019); Hammer Projects: Andrea Bowers, Hammer Museum, Los Angeles (2017); Womxn Workers of the World Unite!, Contemporary Arts Center, Cincinnati (2017); Andrea Bowers: Sanctuary, Bronx Museum, New York (2016); In Situ 1 - Andrea Bowers, Espace Culturel Louis Vuitton, Paris (2014); The Weight of Relevance, Wiener Secession, Vienna, traveled to The Power Plant, Toronto (2007).

Tala Madani

(b. 1981, Tehran, Iran; lives and works in Los Angeles)

Tala Madani's work brings together various modes of critique about gender, particularly masculine and feminine stereotypes, as well as questioning westernized idealistic notions of childhood, family and the art historical canon. Her work is inflected with a peevish sense of humor and brings to bear basic human feelings and emotions, such as anxiety, anger, fear, isolation, paranoia, envy and lust. Madani received her MFA from Yale University School of Art in 2006.

Current and recent solo shows include: Shitty Disco, National Museum of Contemporary Art Αthens (ΕΜΣΤ), Athens (2024); Biscuits, Museum of Contemporary Art, Los Angeles (2022); Kunstmuseum Den Haag (KM21), The Hague, Netherlands (2022); Longlati Foundation (2021); Pilar Corrias, London (2021); Start Museum, Shanghai (2020); Mori Art Museum, Tokyo (2019); Vienna Secessions, Vienna (2019); Portikus, Frankfurt (2019); MO Museum, Vilnius (2018); La Panacée, Montpellier (2017); MIT Visual Arts Center, Cambridge (2016); Centro Andaluz de Arte Contemporáneo, Seville (2014); Nottingham Contemporary, Nottingham (2014); Moderna Museet Malmö & Stockholm (2013), and Stedelijk Museum Bureau, Amsterdam (2011).

Nathaniel Mellors

(b. 1974, Doncaster, England; lives and works in Los Angeles and Amsterdam)

Nathaniel Mellors studied at the Ruskin School, Oxford University (1996–99) and the Royal College of Art, London (1999–2001). In 2007–09, Mellors was resident at the Rijksakademie van beeldende kunsten, Amsterdam. In addition to his absurdist scripts, psychedelic theater, film, video, performance, collage and sculpture, Mellors plays bass guitar in the group Advanced Sportswear and is a co-founder of Junior Aspirin Records.

Recent solo exhibitions include Songs in the Key of Mard', The Box (2024); FRAC Bretagne, Rennes (2021); Borås Konstmuseum, Sweden (2019); Kiasma, Helsinki (2018); New Museum, New York (2018); Cobra Museum, Amsterdam (2017); Finnish Pavilion, 57th Venice Biennale (with Erkka Nissinen) (2017); Hammer Museum, Los Angeles (2014); Contemporary Art Space, Switzerland (2014); Galway Arts Centre (2013); Baltimore Museum of Art (2013); Malmö Konsthall; Salle de Bains, Lyon (2012); Matt’s Gallery, London (2012); SMART Projects, Amsterdam; and ICA, London (2011).

Kelly Akashi

(b. 1983, Los Angeles; lives and works in Los Angeles)

Kelly Akashi's visual language emphasizes the impermanence of the natural world, recording and indexing fragmented moments in time. Her singular practice is characterized by a rigorous conceptual approach, yet the work is distinguished by a deep reverence for process. Akashi is perpetually studying new practices and physical techniques such as glass-blowing, casting, candle-making and stone carving. The repeated use of the hand as motif serves as a symbol for Akashi’s ongoing investigation into the temporality of the human experience.

Akashi received a BFA from Otis College of Art & Design in 2006 and an MFA from the University of Southern California in 2014. She also studied at the prestigious Staatliche Hochschule für Bildende Künste (Städelschule) in Frankfurt am Main, Germany in 2010. Recent solo exhibitions of Akashi’s work include Long Exposure, Sculpture Center, Queens, NY, USA (2017), and Cultivator, a commissioned sculpture at the Aspen Art Museum (2020). Her ten year survey, Kelly Akashi: Formations, began at the San José Museum of Art in 2022, traveled to the Frye Art Museum in Seattle and then to the Museum of Contemporary Art San Diego, on view through 2024. Additional exhibitions include Kelly Akashi: Encounters at the Henry Art Gallery, Seattle (2023-4) and Made in LA: a, the, though, only, Hammer Museum, Los Angeles (2016).

Christina Quarles

(b. 1985, Chicago, Illinois; lives and works in Los Angeles)

Legibility teeters on the edge of lack and excess—when we lack information about a thing, it is vague. However, as information accumulates, the risk for contradiction increases and legibility tips into ambiguity. As a Queer, cis-woman born to a black father and a white mother, Christina Quarles engages with the world from a position that is multiply situated. Her project is informed by her daily experience with ambiguity and seeks to dismantle assumptions of our fixed subjectivity through images that challenge the viewer to contend with the disorganized body in a state of excess.

Quarles received an MFA from the Yale School of Art in 2016, and holds a BA from Hampshire College. She was a 2016 participant at the Skowhegan School for Painting and Sculpture, the inaugural recipient of the 2019 Pérez Art Museum Miami Prize and in 2017, and the Rema Hort Mann Foundation Emerging Artist Grant. Selected solo exhibitions include: In the Shadow of Burning Light, Gammel Strand, Copenhagen, Denmark (2024); Tripping Over My Joy, Pilar Corrias, London (2023), Collapsed Time, Hamburger Bahnhof, Berlin (2023); Christina Quarles, Frye Museum, Seattle (2022); In Likeness, South London Gallery, London (2021); Dance by tha Light of tha Moon, X Museum, Beijing (2021); Christina Quarles, MCA Chicago (2021); I Won’t Fear Tumbling or Falling/If We’ll be Joined in Another World, Pilar Corrias Gallery,London (2020); Christina Quarles / MATRIX 271, UC Berkeley Art Museum and Pacific Film Archive, Berkeley (2018); Made in L.A., Hammer Museum, Los Angeles (2018). Quarles was included in the 59th Venice Biennale The Milk of Dreams, curated by Cecilia Alemani and the 16th Biennale de Lyon, curated by Sam Bardaouil and Till Fellrath.


Tour #3: South LA

Paul McCarthy

(b. 1945, Salt Lake City, Utah; lives and works in Los Angeles)

Paul McCarthy is widely considered to be one of the most influential and groundbreaking contemporary American artists. His multi-faceted artistic practice breaks the limitations of painting by using unorthodox materials such as bodily fluids and food. He has since become known for visceral, often hauntingly humorous work in a variety of mediums—from performance, photography, film and video, to sculpture, drawing and painting.

Solo exhibitions were held at KODE, Bergen (2021); Hammer Museum, Los Angeles (2020) Museum of Fine Arts Leipzig (2018); M Woods, Beijing (2018); Faurschou Foundation in Venice (2017); Fundació Gaspar, Barcelona (2017); Kulturzentrum Lokremise, St.Gallen (2016); The Renaissance Society, Chicago (2015); Monnaie de Paris (2014); Neue Nationalgalerie, Berlin (2012); Whitney Museum, New York (2008); SMAK, Ghent (2007); Moderna Museet, Stockholm (2006); and Haus der Kunst, Munich (2005). He has also participated in many international events, including the Berlin Biennial (2006); the Whitney Biennial (1995, 1997, 2004); and the Venice Biennale (1993, 1999, 2001).

Todd Gray

(b. 1954, Los Angeles; lives and works in Los Angeles)

Todd Gray works in photography, performance and sculpture. His photo-based work destabilizes assumptions about the veracity of photography and provoke reconsiderations of long-accepted norms and beliefs surrounding the medium. His lush photo assemblages are composed of images ranging from imperial European gardens, West African landscapes, and architecture, to rock icons and portraits of the artist himself, all carefully arranged to create critical juxtapositions that examine ideas of African diaspora, colonialism, societal power structures, and dominant cultural beliefs. With an eye informed by his four decades as a professional music photographer as well as his B.F.A. and M.F.A. from California Institute of the Arts, Gray’s photo sculptures are infused with a certain subversive beauty, reflecting his strong sense of visual aesthetics.

Recent solo exhibitions of Gray's work include On Point, Lehmann Maupin, London, England (2023), Todd Gray: Crossing the Waters of Space, Time, and History, Kalamazoo Institute of Arts, MI (2021), Todd Gray / MATRIX 186, Wadsworth Atheneum Museum of Art, Hartford, CT (2021), Todd Gray: Euclidean Gris Gris, Pomona College Museum of Art, Pomona, CA (2019). He was the recipient of a John Simon Guggenheim Fellowship in 2018 and a Rockefeller Foundation Bellagio Residency Fellowship in 2016. In 2022 The American Academy in Rome announced Todd Gray as one of the winners of the prestigious 2022–23 Rome Prize and Italian Fellowships. Gray has presented this work in academic conferences at Yale and Harvard University. Gray works between Los Angeles and Ghana, where he explores the diasporic dislocations and cultural connections which link Western hegemony with West Africa.

Kyungmi Shin

(b. 1963, South Korea; lives and works in Los Angeles)

Kyungmi Shin is a visual artist working with painting, sculpture, and photography, working with painting, sculpture, and photography. Using her own family photo archive and paintings of historical and cultural narratives in juxtaposition, she places the marginalized bodies at the center of the work – creating artworks that shift the gaze from dominant narratives to immigrant, creolized and complex stories.

She received an MFA from UC Berkeley in 1995. Recent solo shows include at the Craft Contemporary, Los Angeles (2024); Father Crosses the Ocean, Orange County Museum of Art, Santa Ana (2020); and Melancholy of Chaos, Nichols Gallery, Pitzer College, Pomona (2009). Her works have been exhibited at Berkeley Art Museum, Art Sonje (Korea), Japanese American National Art Museum (Los Angeles, CA), and Torrance Art Museum (Torrance, CA). She has received numerous grants including California Community Foundation Grant, Durfee Grant, Pasadena City Individual Artist Fellowship and LA Cultural Affairs Artist in Residence Grants. She has completed over 20 public artworks, and her most recent public video sculpture was installed at the Netflix headquarters in Hollywood, CA in 2018.

Rosha Yaghmai

(b. 1978, Santa Monica, California; lives and works in Los Angeles)

Through a sculptural practice that melds industrial and craft processes, Rosha Yaghmai’s work utilizes these provocations to alter the familiar. She uses materials such as silicon and resin for their skin-like translucency and bodily, fleshy quality. Her work, in exhibition form, often takes shape as an assemblage of fragmented objects that evoke an environment of estrangement. Yaghmai is most interested in exploring themes of the psychedelic that includes feelings of transcendence and otherness. Architectural structures like gates, doorways, courtyard walls connote the process of passing through, telepathic transformation or metamorphosis.

Yaghmai was the subject of a solo exhibition at CCA Wattis Institute for Contemporary Art in San Francisco in January 2019. She was also included in the 2018 iteration of Made in LA at the Hammer Museum curated by Erin Christovale and Anne Ellegood. She received her MFA from CalArts in 2007. Recent exhibitions include Rosha Yaghmai: Drifters, Museum of Contemporary Art Santa Barbara, Santa Barbara (2021) and Rosha Yaghmai: Miraclegrow, curated by Leila Grothe, The Wattis Institute, San Francisco (2019). Yaghmai is a Terra Foundation Fellow, Giverny, France (2009), a Villa Aurora Fellow, Berlin, Germany (2016), a recipient of the California Community Foundation grant (2019), The Chara Schreyer Arts Initiative (2020), and the Bullseye Glass Residency (2021).

Analia Saban

(b. 1980, Buenos Aires, Argentina; lives and works in Los Angeles)

Analia Saban dissects and reconfigures traditional notions of painting, often using the medium of paint as the subject itself. Blurring the lines between painting and sculpture, imagery and objecthood, her work frequently includes plays on art historical references and traditions. Paintings expand to sculptural forms and sculptures are presented in two dimensions, using the process of trial and error with new techniques and technology. Her unconventional methods such as unweaving paintings, laser-burning wood and canvas and molding forms in acrylic paint remain central to her practice as she continues to explore art-making processes and materials in relation to her daily experience. Dealing with issues of fragility, balance, technique and experimentation, Saban's connection with everyday objects is at the forefront of her investigation of tangible materials and the metaphysical properties of artworks.

Her work has been included in solo exhibitions internationally at ACK - ART Collaboration Kyoto, ICC Kyoto, Japan (2024), Synthetic Self, Tanya Bonakdar Gallery, Los Angeles & Sprüth Magers, Los Angeles (2023), Analia Saban: Quantifiable, Galerie Praz-Delavallade, Paris (2022), Modern Art Museum Fort Worth (2019), Qiao Space, Shanghai (2017–18), Blaffer Art Museum, Houston (2016), and Armory Center for the Arts, Pasadena (2014).


Tour #4: Downtown / Santa Monica / North Hollywood

Lita Albuquerque

(b. 1946, Santa Monica, California; lives and works in Los Angeles)

Since the early 1970s, Lita Albuquerque who was raised in Carthage, Tunisia and Paris has created an expansive body of work, ranging from sculpture, poetry, painting and multi-media performance to ambitious site-specific ephemeral projects in remote locations around the globe. Often associated with the Light and Space and Land Art movements, Albuquerque has developed a unique visual and conceptual vocabulary using the earth, color, the body, motion and time to illuminate identity as part of the universal.

Recent major exhibitions include Lita Albuquerque: Early Works at Galerie La Patinoire Royale Bach, Brussels; Groundswell: Women of Land Art at Nasher Sculpture Center, Dallas; Lita Albuquerque: Liquid Light presented by bardoLA at 59th La Biennale di Venezia, Biennale Arte 2022; Light & Space at Copenhagen Contemporary, Denmark; Desert X AlUla 2020, Saudi Arabia; the 2018 Art Safiental Biennial, Switzerland; Desert X 2017; 20/20: Accelerando at USC Fisher Museum of Art; The Getty Museum’s Pacific Standard Time Performance and Public Art Festival.

Judith F. Baca

(b. 1946, Huntington Park, California; lives and works in Los Angeles)

In 1974, Baca founded the City of Los Angeles’ first mural program, which produced over 400 murals and employed thousands of local participants, and evolved into an arts organization known as the Social and Public Art Resource Center (SPARC). She continues to serve as SPARC’S artistic director and focuses her creative energy in the UCLA@SPARC Digital/Mural Lab, employing digital technology to promote social justice and participatory public arts projects. She is an emeritus Professor of the University of California Los Angeles, where she was a senior professor in Chicana/o Studies and World Art and Cultures Departments from 1980 until 2018.

Recent major exhibitions include Painting in the River of Angels: Judy Baca and the Great Wall, Los Angeles County Museum of Art (LACMA), Los Angeles, CA, Judith F. Baca: A Tattoo Where the River Once Ran, Jeffrey Deitch, Los Angeles, CA, Judith F. Baca: The World Wall, The Geffen Contemporary, Museum of Contemporary Art (MOCA), Los Angeles.

Carl Cheng

(b. 1942, San Francisco, California; lives and works in Los Angeles)

Carl Cheng’s work takes a material and conceptual approach that pushes the boundaries of traditional object making, post-minimalism, systems art, environmental art, and social practice. For nearly six decades, he has produced pioneering works exploring, as Mark Johnstone has written, “technology and nature as levers, one applied to the other, in order to discover and reveal the beautiful wonders of each.” Cheng plays a unique role in the history of American contemporary art practice and the history of art in California.

The work of Carl Cheng is currently the subject of a major survey, curated by Alex Klein of the ICA Philadelphia, in partnership with Roland Wetzel and Stijn Huijts, that will open at The Contemporary Austin (Austin) in fall 2024, and travel to the Institute of Contemporary Art (Philadelphia); Bonnefanten Museum (Maastricht); Tinguely Museum (Basel, Switzerland); and Institute of Contemporary Art Los Angeles (Los Angeles). Cheng’s recent solo and exhibitions include Material Behavior, REDCAT, Los Angeles, CA (2022), Human Nature, Philip Martin Gallery, Los Angeles, CA (2022), Nature is Everything – Everything is Nature, Cherry and Martin, Los Angeles, CA (2016).

Alison Saar

(b. 1956, Los Angeles, California; lives and works in Los Angeles)

Alison Saar credits her mother, acclaimed collagist and assemblage artist Betye Saar, with exposing her to metaphysical and spiritual traditions. Assisting her father, Richard Saar, a painter and art conservator, in his restoration shop inspired her learning and curiosity about other cultures. Saar’s style encompasses a multitude of personal, artistic, and cultural references that reflect the plurality of her own experiences. Her sculptures, installations, and prints incorporate found objects including rough-hewn wood, old tin ceiling panels, nails, shards of pottery, glass, and urban detritus. The resulting figures and objects become powerful totems exploring issues of gender, race, heritage, and history.

Saar studied studio art and art history at Scripps College in Claremont, California, receiving a BA in art history in 1978. In 1981 she earned her MFA from the Otis Art Institute in Los Angeles. Recent solo shows include Alison Saar: To Sit A While, Museum of the African Diaspora, San Francisco (2023), Cycle of Creativity: Alison Saar and the Toni Morrison Papers, Princeton University Museum of Art, Princeton (2023), Alison Saar: Of Aether and Earthe, Benton Museum of Art at Pomona College and the Armory Center for the Arts, Pasadena (2020). Saar was chosen to produce a work of public art for the 2024 Olympic Games in Paris.