Sentences with phrase «generation artists in this exhibition»

Not exact matches

Perhaps a more effective way to «celebrate [me], [my] work and [my] contributions to not only the art world at large, but also a generation of black artists working in performance,» might be to curate multi-ethnic exhibitions that give American audiences the rare opportunity to measure directly the groundbreaking achievements of African American artists against those of their peers in «the art world at large.

Partially in response to an exhibition at the Jewish Museum, Artists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mytArtists of the New York School: Second Generation (1957), organized by Meyer Schapiro, which included twenty - three artists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mytartists, not one of them affiliated with the Tanager, gallery members at the Tanager spent five years developing what they envisioned as their own New York project, a series of five two - week exhibitions organized around five themes: Old Masters, nature departed, natured observed, paint, and personal mythology.

After leaving the Royal Academy Schools in 1960, he was included in the influential Situation group exhibitions in 1960 and»61 and selected as one of Robertson's New Generation artists at the Whitechapel Gallery in 1964.

Explore Pablo Picasso's potent legacy and persistent impact on several generations of artists in this vibrant exhibition occupying all our galleries this fall.

1957 She participated in the Artists of the New York School: Second Generation exhibition organized by Meyer Schapiro at the Jewish Museum in New York.

The exhibition's title aims to reflect Borgmann's prescience in acquiring works by a new generation of artists.

Bringing together artists working in various media, from multiple regions, and of different generations, this exhibition focuses on the lyric — the poetic first - person account of lived experience — to explore the complexities of being in the world.»

Karen Wilkin, «Greenberg and the Syracuse Artists», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Suzanne Shane, «Greenberg in Syracuse, Then And Now», The Mirror Eye, Clement Greenberg in Syracuse, catalogue to the exhibition, Greenberg in Syracuse, Then and Now, May / June 2005, Syracuse, NY Clement Greenberg, «Interview with Clement Greenberg», Direct Sculpture; Dialogue in Polymers, catalogue to the exhibition, UMass / Amherst 2006 Robert Morgan, Clement Greenberg, Late Writings, University of Minnesota Press 2003 Donald Kuspit, «A Critic's Collection», Artnet.com, August 3, 2001 Karen Wilkin; Bruce Guenther, Clement Greenberg A Critic's Collection, Princeton University Press 2001 «Recontre avec Darryl Hughto, L'mour de la matiere», Pratique Des Arts, no. 36 Fevrier - Mars 2001 Michael Ennis, «Long on Art», Architectural Digest, May 1996 Dodie Kazanjian, «On Target», Vogue, February 1990 Karen Wilkin, «At the Galleries», Partisan Review, no. 2, 1989 Grace Glueck, «1 + 1 on Madison, Couples Show Adds Up», The New York Times, Feb. 17, 1984 Valentin Tatransky, «The Art of Painting; Jules Olitski, Lawrence Poons, and Darryl Hughto», Arts Magazine, May 1983 Terry Fenton, Darryl Hughto, Recent Paintings, Catalogue to the exhibition, The Edmonton Art Gallery, November 1981 Karen Wilkin, «The New Generation; A Curator's Choice», art magazine, May / June 1981 Ken Carpenter, «New Abstract Art», art magazine, May / June 1981 Stephen Pentak, «Darryl Hughto», Arts Magazine, May 1981 Vivien Raynor, «Darryl Hughto», The New York Times, May 30, 1980 Kenworth Moffett, The New Generation; A Curator's Choice, Rhineburgh Press, NY, 1980 Ken Carpenter, Darryl Hughto, catalogue to the exhibition, Meredith Long Contemporary, NY, 1980 John Russell, «The 20th Century at the Met», The New York Times, August 12, 1979 Suzanne Shane, «Darryl Hughto», 57th Street Review, Feb. 1976 Ken Carpenter, «Third Generation Abstraction: Darryl Hughto», Arts Magazine, Feb. 1975 James Harithas, Notes on Darryl Hughto, Catalogue to the exhibition, Everson Museum, Mar. 1973

Group exhibitions include: «GENERATION: 25 Years of Contemporary Art in Scotland», Scottish National Gallery of Modern Art, Edinburgh (2014); «A Picture Show», Gallery of Modern Art, Glasgow (2013); «Studio 58: Women Artists in Glasgow Since WWII», Mackintosh Museum, The Glasgow School of Art (2012); «Edge of the Real», The Whitechapel Gallery, London (2004); «Painting Not Painting», Tate St. Ives, Cornwall (2003); and «Matisse and Beyond», San Francisco Museum of Modern Art, San Francisco (2003).

Unlimited: Presenting 78 ambitious and large - scale artworks from five generations of artists Unlimited, Art Basel's unique exhibition platform for artworks that transcend the traditional art fair stand, will this year present 78 projects from galleries participating in the show.

«Redstone's practice,» explains Professor Jenni Sorkin in a text that accompanies the exhibition, «has developed largely abroad, and in semi-isolation, not unlike Maria Nordman (b. 1943), who is the same generation, and Jo Baer (b. 1929), the minimalist painter - turned - public artist.

Smith, who is director of the museum, has commissioned «My Generation: Young Chinese Artists,» a special exhibition that would assemble a large group of emerging Chinese artists in a U.S. museum for the firsArtists,» a special exhibition that would assemble a large group of emerging Chinese artists in a U.S. museum for the firsartists in a U.S. museum for the first time.

By «us,» Salle meant one of the artists in «The Pictures Generation, 1974 — 1984,» an exhibition opening this month at the Metropolitan Museum of Art.

This exhibition explores the influence of Michael Jackson on some of the leading names in contemporary art, spanning several generations of artists across all media.

The exhibition centers on L.A. artist Rico Lebrun's (1900 - 1964) significant impact upon a generation of Mexican artists; particularly the Mexico's new generation of muralists, when Lebrun moved to Mexico and taught at the Instituto Allende in San Miguel de Allende.

The initiators behind MELK want to showcase the new generation of photographic artists in Norway and Scandinavia and discuss photography as art in an exhibition context in an intricate time for the media.

The exhibition brings together a broad spectrum of leading artists, prompting thematic conversations across generations, between those who rose to prominence during the closing decades of the last century and younger artists who have found their voice in today's world, a place of incalculably more images, where distinct movements have given way to heterogeneity and the availability of and reliance on technology is taken as given.

The exhibition considers works by famed Nouveau Réalisme artists such as Arman and Raymond Hains alongside the likes of American counterparts Robert Rauschenberg and Richard Artschwager, as well as a younger generation of contemporary artists who came of age in the wake of Pop Art.

In 1998, he had his first one man show at the Kamakura Gallery, and his work has been featured in the following group exhibitions: 2010, «assembling» vision's, Ningyo - cho; 2010, A-Thing; 2009, «The Dream of Cybord», Art Trace Gallery, Ryogoku; A-THing2006, The 3rd Fuchu Biennial «On Beauty and Value, Seven Artists of Post-Bubble Generation» Fuchu Art MuseuIn 1998, he had his first one man show at the Kamakura Gallery, and his work has been featured in the following group exhibitions: 2010, «assembling» vision's, Ningyo - cho; 2010, A-Thing; 2009, «The Dream of Cybord», Art Trace Gallery, Ryogoku; A-THing2006, The 3rd Fuchu Biennial «On Beauty and Value, Seven Artists of Post-Bubble Generation» Fuchu Art Museuin the following group exhibitions: 2010, «assembling» vision's, Ningyo - cho; 2010, A-Thing; 2009, «The Dream of Cybord», Art Trace Gallery, Ryogoku; A-THing2006, The 3rd Fuchu Biennial «On Beauty and Value, Seven Artists of Post-Bubble Generation» Fuchu Art Museum.

I think he is one of the most interesting artists of his generation and I am very proud to be able to present the first exhibition of his work in the Netherlands.

At 19:30 the curator Ofir Dor will offer a final tour through the exhibition with the focus on how the displayed works of different generations of Israeli artists are interwoven with each other in a complex manner by the theme «body».

This exhibition focuses on a dynamic generation of artists, from a country that is taking an increasingly central position in the international art scene.

The artist and philosopher Adrian Piper's direct and subtly intellectual approach to unpacking the tangled issues of race, gender, identity, and belonging has inspired a generation of socially - conscious artists across all media, although her impact is just now being fully recognized: she was the recipient of the Golden Lion for best artist at this year's Venice Biennale, and MoMA has recently announced plans for, in the words of Robin Pogrebin in the New York Times, «the most comprehensive exhibition to date on the conceptual artist,» set to open in 2018.

These exhibitions were significant in that they demonstrated the role that art had during that time to a new generation of museumgoers and artists.

Strategies that emerged earlier in the circles of the surrealists and New Vision photographers — the untutored «photographic mistake,» photography as a form of literary pointing — adopted by the artists in this exhibition have subsequently been absorbed by the contemporary generation using photography as conceptual art, from Gabriel Orozco to Hank Willis Thomas.

Included in the exhibition are works in a range of media from beat - generation artists Bruce Conner and Wallace Berman including mixed - media collages, ink works and assemblages.

Supporting artistic creation in a pivotal moment of an artist's career, this exhibition celebrates the innovation and potential of these South Florida artists to continue their paths as expressive leaders of their generation.

Zhiying was included in a group exhibition entitled, My Generation: Young Chinese Artists at the Tampa Museum of Art in 2014.

Connection, Reflection is an exhibition curated by Nikki Pressley that features emerging artists based in Los Angeles using a range of media and approaches to explore ideas surrounding the reality and generation of personal and cultural narratives.

In recent years, Thompson's work has also been exhibited regularly in group exhibitions worldwide, including Il Secolo del Jazz: Arte, Cinema, Musica e Fotografia da Picasso a Basquiat (The Jazz Century: Art, Cinema, Music and Photography from Picasso to Basquiat) at the Museo di Arte Moderna e Contemporanea in Rovereto, Italy, which traveled to the Musée du Quai Branly in Paris France and the Centre de Cultura Contemporània in Barcelona, Spain (2009); Blues for Smoke at the Museum of Contemporary Art in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016In recent years, Thompson's work has also been exhibited regularly in group exhibitions worldwide, including Il Secolo del Jazz: Arte, Cinema, Musica e Fotografia da Picasso a Basquiat (The Jazz Century: Art, Cinema, Music and Photography from Picasso to Basquiat) at the Museo di Arte Moderna e Contemporanea in Rovereto, Italy, which traveled to the Musée du Quai Branly in Paris France and the Centre de Cultura Contemporània in Barcelona, Spain (2009); Blues for Smoke at the Museum of Contemporary Art in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in group exhibitions worldwide, including Il Secolo del Jazz: Arte, Cinema, Musica e Fotografia da Picasso a Basquiat (The Jazz Century: Art, Cinema, Music and Photography from Picasso to Basquiat) at the Museo di Arte Moderna e Contemporanea in Rovereto, Italy, which traveled to the Musée du Quai Branly in Paris France and the Centre de Cultura Contemporània in Barcelona, Spain (2009); Blues for Smoke at the Museum of Contemporary Art in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in Rovereto, Italy, which traveled to the Musée du Quai Branly in Paris France and the Centre de Cultura Contemporània in Barcelona, Spain (2009); Blues for Smoke at the Museum of Contemporary Art in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in Paris France and the Centre de Cultura Contemporània in Barcelona, Spain (2009); Blues for Smoke at the Museum of Contemporary Art in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in Barcelona, Spain (2009); Blues for Smoke at the Museum of Contemporary Art in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in Los Angeles, CA, which traveled to the Whitney Museum of American Art and Wexner Center for the Arts of the Ohio State University in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in Columbus, OH (2012); Witness: Art and Civil Rights in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in the Sixties at the Brooklyn Museum, Brooklyn, NY, which traveled to the Hood Museum of Art, Dartmouth College, Hanover, NH and the Blanton Museum of Art, Austin, TX (2014); Beat Generation at the Centre Pompidou in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016in Paris, France (2016); and The Color Line: African American Artists and Segregation at the Musée du Quai Branly (2016).

In the context of the exhibition ``... and yet one more world,» presented by Kunsthaus Hamburg, the oeuvre of the seminal German Conceptual artist Hanne Darboven (1941 — 2009) serves as a starting point for an exploration of its present - day impact and relevance from the perspective of a younger generation of international artists.

A Selection of American Art: Minimalism and After, Galerie Ronny Van de Velde, Antwerp, Belgium (catalogue) The Kitchen Art Benefit, Curt Marcus & Leo Castelli Galleries, New York Re-Framing Cartoons, Loughelton Gallery, New York Grids, Vrej Baghoonian Gallery, New York Modern Detour / Umweg Moderne: R.M. Fischer, Peter Halley, Laurie Simmons, Wiener Secession, Vienna (catalogue) The Last Decade: American Artists of the 80s, Tony Shafrazi Gallery, New York (curated by Collins & Milazzo, catalogue) Weitersehen 1980 — 1990, Krefelder Kunstmuseen, Museum Haus Lange and Museum Haus Esters, Krefeld, Germany (catalogue) Mel Bochner, Peter Halley, Robert Rauschenberg, Sonnabend Gallery, New York Classical Modernism: Six Generations, Sidney Janis Gallery, New York Peter Halley, Annette Lemieux, Meyer Vaisman, Galerie Antoine Candau, Paris Peter Halley, Jeff Koons, Meyer Vaisman, Galerie Carola Moesh, Berlin 1989 Nonrepresentation: The Show of the Essay, Anne Plumb Gallery, New York (catalogue); travelled to Security Pacific Corporation, Los Angeles (curated by Jeremy Gilbert - Rolfe, catalogue) Horn of Plenty, Stedelijk Museum, Amsterdam (catalogue) Buena Vista, John Gibson Gallery, New York (curated by Collins & Milazzo, catalogue) Abstraction in Question, John and Mable Ringling Museum of Art, Sarasota, FL (catalogue); travelled to Center for the Fine Arts, Miami Paula Cooper Gallery, New York A Climate of Site, Galerie Barbara Farber, Amsterdam (curated by Robert Nickas, catalogue) Science — Technology — Abstraction: Art at the End of the Decade, University Art Galleries, Wright State University, Dayton, OH (catalogue) Prospect 89, Frankfurter Kunstverein, Schirn Kunsthalle, Frankfurt am Main (catalogue) Re-Presenting the 80s, Simon Watson Gallery, New York (catalogue) Ten + Ten: Contemporary Soviet and American Painters, Fort Worth Museum of Art, Fort Worth, TX; travelled to San Francisco Museum of Modern Art, San Francisco, CA; Albright - Knox Art Gallery, Buffalo, NY; Milwaukee Art Museum, Milwaukee, WI; Corcoran Gallery of Art, Washington, DC; Artists» Union Hall of the Tretyakov, Krymskaia Embankment, Moscow, USSR; State Picture Gallery of Georgia, Tbilisi, Georgian Soviet Socialist Republic; Central Exhibition Hall, Leningrad, USSR (catalogue) The Silent Baroque, Villa Arenberg, Galerie Thaddaeus Ropac, Salzburg, Austria (catalogue) New Editions, Pace Prints, New York Psychological Abstraction, Deste Foundation for Contemporary Art, Athens (catalogue) Exposition Inaugurale, Fondation Daniel Templon, Musée Temporaire, Fréjus, France (catalogue) Wittgenstein: The Play of the Unsayable, Wiener Secession, Vienna, Austria; travelled to Palais des Beaux - Arts, Brussels (catalogue) Abstraction — Geometry — Painting, Albright - Knox Art Gallery, Buffalo, NY; travelled to Center for the Fine Arts, Miami, FL; Milwaukee Art Museum, Milwaukee, WI; Yale University Art Gallery, New Haven, CT (catalogue) New Work by Gallery Artists: John Baldessari, Bernd and Hilla Becher, Ashley Bickerton, Mel Bochner, Carroll Dunham, Fischli + Weiss, Gilbert & George, Peter Halley, Barry Le Va, Haim Steinbach, Meyer Vaisman, Terry Winters, Robert Yarber, Sonnabend Gallery, New York Gober, Halley, Kessler, Wool: Four Artists from New York, Kunstverein, Munich (catalogue) Projects and Portfolios: The 25th National Print Exhibition, Brooklyn Museum, Brooklyn, NY (catalogue) Recent Acquisitions, Carl Solway Gallery, Cincinnati, OH Buena Vista, John Gibson Gallery, New York

In this exhibition, I hope to highlight aspects of his artistic practice as well as his professional career as a university professor and its impact on several generations of artists, curators and writers from Nigeria, West Africa and across the continent.»

Abigail Lane emerged as part of the YBA generation of artists when in 1988 she and fellow students such as Damien Hirst, Gary Hume and Sarah Lucas co-organized the legendary Freeze exhibition showcasing their own work while students at Goldsmiths» College.

Significant exhibitions include Andy Warhol's Campbell's Soup Boxes in December 1986, which opened just weeks before the artist's untimely death; She: Works by Richard Prince and Wallace Berman which brought together — for the first time — two generations of leading artists from different coasts; Bruce Conner: Work from the 1970s, which inspired the artist's first solo retrospective in Europe at the Kunsthalle Wien and Kunsthalle Zurich (2010).

The edition was produced to accompany The Edge of The Real, an exhibition to showcase of the work of a younger generation of artists working in Britain in 2004 and which was presented to complement Raoul De Keyser's parallel exhibition at the Gallery.

Their extravagantly installed exhibitions, the artists» free - wheeling individual approaches, and their varied and compelling work have all had a wide - ranging and profound influence on several generations of their students and on many younger artists since then, including such well - known figures as Chris Ware (SAIC 1991 — 93), Sue Williams, Gary Panter, and Amy Sillman — as has been documented in the recent film Hairy Who & the Chicago Imagists.

Robert Barnes's paintings and drawings have been included in gallery and museum exhibitions across the country with fair regularity for the last 40 years, and attracted the admiration of generations of artists and connoisseurs.

In their most diverse exhibition to date, The Henry Moore Foundation's «Body & Void» exhibition draws connections between Moore's investigation of internal space and its relationship with the human body, and reveals how his ideas have been taken in new directions by subsequent generations of artistIn their most diverse exhibition to date, The Henry Moore Foundation's «Body & Void» exhibition draws connections between Moore's investigation of internal space and its relationship with the human body, and reveals how his ideas have been taken in new directions by subsequent generations of artistin new directions by subsequent generations of artists.

Golden speaks of Ligon's efforts in encouraging a new generation of artists, mentioning the behind - the - scenes role he played in organizing Freestyle, an exhibition of emerging talent mounted by the Studio Museum in 2001.

Group Exhibition in Tribeca Explores Black Identity «Black Eye,» a group show that explores the shifting dynamics of race and identity over the past two decades, features a who's who among two generations of black contemporary artists.

Coinciding with Frieze Masters, the exhibition of these important series will provide a renewed perspective in which to consider the significance of the artists» earlier works and their influence on subsequent generations of painters and photographers.

In 2002, Bourriaud curated an exhibition at the San Francisco Art Institute, Touch: Relational Art from the 1990s to Now, «an exploration of the interactive works of a new generation of artists.»

Drawing in Tintoretto's Venice will be the first exhibition since 1956 to explore the drawing practice of this major figure of the Venetian Renaissance and will offer an entirely new perspective on Tintoretto's evolution as a draftsman, his individuality as an artist, and his influence on a generation of painters in northern Italy.

The Park Life Gallery exhibition, «(Invisible) Relic,» curated by Andrew McClintock, examines works by two generations of California Conceptual Artists working with performative actions and re-appropriated objects in a variety of mediums including video, photographic, audio, sculpture and performance.

The main focus is promoting the new generation of photographic artists in Norway and Scandinavia through exhibitions, discussions and dissemination locally and internationally.

The artists» shared exhibition history, with Peláez showing her work alongside the new abstract generation in the 1950s, challenges the art historical narrative of a rupture between the early

This international group exhibition with eight artists shows a generation in full width and with high - quality work».

The three generations of artists in this exhibition are proud, committed and uncompromising members of the progressive LGBTQ artistic community and create work that is powerful and flamboyant, liberating and often witty as well as visually startling.

He Xiangyu has also been included in various group exhibitions including Tales of Our Time Film Program (Screening of the film «The Swim»), Guggenheim Museum New York, New York, USA (2017); Hedge House Wijlre: Family Tree, Contemporary Chinese art from the Sigg collection, Bonnefanten Museum, Maastricht, Netherlands (2016); Juxtapoz x Superflat, Vancouver Art Gallery, Vancouver, Canada (2016); Chinese Whispers, Paul Klee Zentrum, Kunstmuseum Bern, Bern, Switzerland (2016) The 13th Biennale de Lyon (2015), Fire and Forget, KW Institute for Contemporary Art, Berlin (2015), Shanghai Biennale (2014), Future Generation Art Prize: Exhibition of the Shortlisted Artists at the Pinchuk Art Centre, Kiev, Ukraine (2014), Busan Biennale, (2014), Yokohama Triennale, (2014), 28 Chinese and the Rubell Family Collection, Miami (2013).