Major solo
exhibitions include: Louise Bourgeois:
Retrospective, Museum
of Modern Art, New York, USA, touring (1982 — 1984); Louise Bourgeois: A
Retrospective Exhibition, Frankfurter Kunstverein, Frankfurt, Germany, touring (1989 — 1991); American Pavilion, 45th Venice Biennale, Venice, Italy (1993); Louise Bourgeois: Memory and Architecture, Museo Nacional Centro de Arte / Reina Sofia, Madrid, Spain (1999 — 2000); Louise Bourgeois: I Do, I Undo, I Redo, inaugural installation in the Turbine Hall, Tate Modern, London, UK (2000); Louise Bourgeois, Guggenheim Museum Bilbao, Spain (2001 — 2002); Louise Bourgeois at the Hermitage, The State Hermitage Museum, St. Petersburg, Russia, touring (2001 — 2003); Louise Bourgeois: The Insomnia Drawings, The Whitney Museum
of American Art, New York, USA (2003); Louise Bourgeois:
Retrospective, Tate Modern, London, UK, touring (2007 — 2009); Louise Bourgeois: The Return
of the Repressed, Fundación PROA, Buenos Aires, Argentina, touring (2011); Louise Bourgeois, National Gallery
of Canada, Ottawa, Canada (2011 — 2013); Louise Bourgeois:
Conscious and Unconscious, Qatar Museums Authority, QMA Gallery, Katara, Doha, Qatar (2012); Sammlungshangung Bourgeois, Fondation Beyeler, Basel, Switzerland (2013 — 2014); Artist Rooms: Louise Bourgeois, A Woman without Secrets, Scottish National Gallery
of Modern Art, Edinburgh, Scotland (2013 — 2014); Louise Bourgeois: Petite Maman, Museo del Palacio de Bellas Artes, Mexico City, Mexico (2013 — 2014); and Louise Bourgeois: I Have Been to Hell and Back, Moderna Museet, Stockholm, touring (2015).
Significant
exhibitions include her breakthrough 1982
Retrospective at the Museum
of Modern Art, in New York; 1993 Venice Biennale (where in 1999 she was also awarded the Golden Lion award); her
Retrospective at Tate Modern, London (2007 - 2008), which traveled to the Centre Georges Pompidou, Paris (2008), the Solomon R. Guggenheim Museum, New York (2008), etc.; and «Louise Bourgeois:
Conscious and Unconscious,» at the Qatar Museums Authority, QMA Gallery, in Doha (2012).
Concurrent with his survey
retrospective at the Hirschhorn Museum, the
exhibitions show Kjartansson seeking to redefine the terms
of a durational aesthetic engagement through his deeply mindful, perhaps too historically
conscious, art, while displaying the multivalent nature
of his somewhat uncharacterizable approach.