2010 Size Does Matter, FLAG Art Foundation, New York, USA Passion Fruits, Collectors Room, Berlin, Germany The Global Africa Project Exhibition, Museum
of Arts and Design, New York, USA Personal Identities: Contemporary Portraits, Sonoma State University Art Gallery, Sonoma, USA
Pattern ID, Akron Art Museum, Akron, Ohio, USA Wild Thing, Roberts & Tilton, Culver City, USA Summer Surprises, Pennsylvania Academy
of the Fine Arts, Philadelphia, USA Individual to Icon: Portraits
of the Famous and Almost Famous from Folk Art to Facebook, Plains Art Museum, Fargo, USA The Library
of Babel / In and
Out of Place, 176 Zabludowicz Collection, London, England Searching for the Heart
of Black Identity: Art and the Contemporary African American Experience, Kentucky Museum
of Art and
Craft, Louisville, USA The Gleaners: Contemporary Art from the Collection
of Sarah and Jim Taylor, Victoria H. Myhren Gallery, Denver, USA From Then to Now: Masterworks Contemporary African American Art, Curated by Margo Ann Crutchfield, Museum
of Contemporary Art, Cleveland, USA
Oppenheim speaks
of growing up in Washington and California, his father's Russian ancestry and education in China, his father's career in engineering, his mother's background and education in English, living in Richmond El Cerrito, his mother's love
of the arts, his father's feelings toward Russia, standing
out in the community, his relationship with his older sister, attending Richmond High School, demographics
of El Cerrito, his interest in athletics during high school, fitting in with the minority class in Richmond, prejudice and cultural dynamics
of the 1950s, a lack
of art education and philosophy classes during high school, Rebel Without a Cause, Richmond Trojans, hotrod clubs, the persona
of a good student, playing by the rules
of the art world, friendship with Jimmy De Maria and his relationship to Walter DeMaria, early skills as an artist, art and teachers in high school, attending California College
of Arts and
Crafts, homosexuality in the 1950s and 1960s, working and attending art school, professors at art school, attending Stanford, early sculptural work, depression, quitting school, getting married, and moving to Hawaii, becoming an entrepreneur, attending the University
of Hawaii, going back to art school, radical art, painting, drawing, sculpture, the beats and the 1960s, motivations, studio work, theory and exposure to art, self - doubts, education in art history, Oakland Wedge, earth works, context and possession, Ground Systems, Directed Seeding, Cancelled Crop, studio art, documentation, use
of science and disciplines in art, conceptual art, theoretical positions, sentiments and useful rage, Robert Smithson and earth works, Gerry Shum, Peter Hutchinson, ocean work and red dye, breaking
patterns and attempting growth, body works, drug use and hippies, focusing on theory, turmoil, Max Kozloff's «Pygmalion Reversed,» artist as shaman and Jack Burnham, sync and acceptance
of the art world, machine works, interrogating art and one's self, Vito Acconci, public art, artisans and architects, Fireworks, dysfunction in art, periods
of fragmentation, bad art and autobiographical self - exposure, discovery, being judgmental
of one's own work, critical dissent, impact
of the 1950s and modernism, concern about placement in the art world, Gypsum Gypsies, mutations
of objects, reading and writing, form and content, and phases
of development.