Cette errance programmée l'aura amenée au sein des deux continents américains dans un seul but : se fondre, s'incorporer à une nature sauvage que l'artiste perçoit peu à peu comme une extension de son corps. Elle se devait à la fois d'y disparaître mais aussi d'y imprimer les marques primitives de sa féminité.
Certes, ce qu'on retient avant tout de l'oeuvre - car c'est là sans doute la partie la plus "muséable" -, reste ces séries de performances macabres - On giving life de 1975 où l'artiste s'accouple à un squelette - ou sanguinaires -Mutilated on Landscape -1973, Body Tracks 1975 où l'artiste, face à un mur, les mains enduites de peinture rouge se laisse glisser jusqu'à terre et clôture ainsi sa série des Blood Signs avec une économie de moyens qui concentre au plus fort sa démarche. Dans le paysage artistique de son époque l'oeuvre d'Ana Mendieta tranchait et elle reste aujourd’ui tout autant « performante ».
Certes on aurait tendance à placer "naturellement" ou par réflexe conditionné cette recherche dans la mouvance du body-art puis du land-art. Pourtant les perspectives qui président à ce travail l'éloigne radicalement de tels mouvements. Contre ceux-ci ou contre l'art conceptuel qui sévisaitt à l'époque et dans lequel l'artiste ne voit qu'une "idée d'hommes" capables de ne faire que "des choses qui étaient très propres", l'artiste cubaine ne va pas chercher le contre-pied systématique (un art "sale") mais va diriger son travail en une perspective qui déroge aux canons des années soixante-dix. Dès lors le sang n'est plus traité (comme dans le body-art) tel un "matériau" de déconstruction ou de provocation. Ce que l'artiste retient dans cette substance c'est son pouvoir "magique" et elle ne voit aucune "force négative" dans le fait de le répandre, de l'exposer, de jouer - c'est-à-dire non d'en faire un liquide ludique mais un moyen de faire parler le corps à la recherche de son identité - avec lui. Toute l'oeuvre est en effet orientée par la recherche d'une identité perdue (jamais venue) vers une vision mythique et magique du monde et de l'existence, vision qui prend sans doute son origine dans le "déplacement" (à l'age de 12 ans) - plus que dans le détachement - de la terre matricielle qui fait de l'artiste une éternelle "orpheline" non seulement "socialement" mais à elle-même. Pour Ana Mendieta en effet l'arrachement demeurera impossible. Elle reviendra d'ailleurs plusieurs fois sur ce "sacrifice" imposé, sur cette "blessure" qui la plongent dans un sentiment de solitude et de culpabilité. L'art dès lors - en renouant avec des rites animistes que le régime castriste ne put d'ailleurs jamais éradiquer, mais c'est une autre histoire - donne une dimension mythique à toutes ces cérémonies sacrificielles (plus que pures performances) auxquelles l'artiste s'adonna et qui, par le biais de son art, allait prendre une valeur générale pour nous parler encore. Mais il y a sans doute plus car les rituels de Mendieta répondent par la violence à la violence. On se souvient par exemple de sa Rape scene de 1973 dans laquelle l'artiste confronte ses spectateurs à la reconstitution d'un viol fomenté sur un campus, performance qu'elle reprend quelques jours plus tard en répandant du sang sur le trottoir qui jouxte son appartement ( People looking at Blood Moffit). Mais, dès ses premières performances, une violence plus profonde avait déjà surgi ; l'artiste l'avait mise en scène au moment où elle fomentait, de fait, cette sorte d'effacement de l'image à travers son propre corps, cette sorte d'effacement qui reste peut-être "l'image de marque" ou l'image-mère de l'oeuvre en son ensemble. Dans ses célèbres Glass on body de 1972, en comprimant simplement son visage sur une vitre, au point de lui faire subir des défigurations extrêmes, Mendieta reposait ainsi la question de l'identité qui, de fait, parcourt toute son oeuvre. Car c'est bien à cette question que toute l'oeuvre répond, par la violence, par le sang, par l'émotion que des performances - comme en creux puisque chaque scène est présentée comme une mise en scène ou une facticité volontaire - suscitent toujours. Aussi, dans une oeuvre pourtant authentiquement et purement autobiographique, du visage de l'artiste il ne sera jamais question. Son visage en effet restera soit défiguré (cf. ci-dessus) soit photographié ou filmé de l'arrière : il est donc impossible de voir celle qui n'aura pour ainsi dire jamais de visage. Reprenant une problématique chère à Bacon elle va la pousser à l'extrême en renonçant d'une certaine manière à la peinture de représentation. Elle remplace cette représentation (l'oeuvre en tant que chef d'oeuvre) par toux ces glissements et ces traces qui demeurent pourtant aujourd'hui plus qu'une archéologie d'un savoir, d'un savoir qu'on a tendance à réprimer tant il nous est insupportable. C'est pourquoi ces traces (stigmates) de l'oeuvre sont des traces qui nous reviennent, qui forcent notre regard par effet de miroir mais un miroir qui ne possède plus rien de narcissique. Ces traces semblent encore aujourd'hui nous sauter à la tête et crier, crier d'une voix d'une enfant piégée mais habitée, d'une voix détimbrée qui ne peut - ni pouvait - plus mentir, qui ne peut - ni pouvait - plus contenir ce silence intérieur que tout être porte en lui et qui pourtant à tant de chose dire. Dans la lumière voilée nécessaire à toute exposition de l'oeuvre de Mendieta, les images deviennent dès lors comme un étrange miroir. Mais, en ces miroirs, à la fois déformants et reformants, plus que le rouge sang, c'est le blanc qu'il faut retenir. Certes lorsque par exemple les diapositives qui découpent les performances passent et repassent en boucle on retient d'abord le rouge insupportable de leur sang. Mais sous cette carapace - qui dans une exposition à la Fondation Tapies de Barcelone en 1996 venait casser l'espace cubique en briques de l'édifice ainsi que le bistre des Tapiès -, le rouge premier s'estompe pour laisser place - avec la douleur qui lui est concomitante - à ce blanc rayonnant de silence. Et soudain l'avenir brûle d'une seule nuit immobile dans, par exemple, le film unique de l'artiste vers quoi tout converge. Mais il en va de même pour les Glass on body. Ana Mendieta - collée à la vitre où son visage s'écrase comme si l'identité première et recherchée ne pouvait rester que lettre morte - retourne, convulse le corps pour une crucifixion dont la croix, désormais inutile, ferait redondance. Ce corps, son corps, n'est qu'une rafale, une décharge noire aux fleurs de chair usées (malgré la jeunesse de l'artiste). Caché, caché dans la chair, le regard, pour ce que l'on peut en voir, devient ce qui hurle de manière blanche dans le noir, en ce silence porté à blanc (comme le fer est porté à blanc). En ces systèmes d'écarts (l'inverse des écartements) le vif saisit la mort, la reconnaît mais en vain car la mort emporte déjà le vif. Et l'on retrouve ce même mouvement au moment où le blanc rayonne dans le silence du film-vidéo. Mendieta est là, se tourne, se saigne. macule à sang le blanc, puis s'agenouille, repart, revient, en boucles, arides, hostiles, insoutenables. Mais soudain on sait que c'est là que tout se joue : l'art échappe aux catégories, il parle autrement dans cette perspective espérée par Artaud, surtout le Artaud terminal des Suppôts et Supplications dont Mendieta semble viscéralement si proche tant il existe chez les deux créateurs une démarche comparable à la fois par la mystique sauvage qui les anime et par leur traversée des langages hors des grammaires et des codes admis voire admissibles ("digérables" en quelque sorte). Chez Mendieta l'image concentre - comme le langage chez Artaud - une énergie potentielle qu'elle entraîne dans un processus d'autodissipation. Car en bout de course cette image irrécupérable annonce, qu'en conséquence, aucune identité n'est repêchable. Elle anticipe - malgré les ultimes tentatives de l'artiste, malgré ses ultimes dérives, - la fin du possible (ce que ne fera qu'entériner la mort énigmatique et violente de l'artiste). L'oeuvre de l'artiste rappelle qu'il n'y a pas d'issue sinon cette mort que l'on se donne ou que l'on nous donne. Une mort-métaphorique (séparation de la terre matricielle) ou réelle qui semble contre le blanc (et le rouge) de l'oeuvre dire qu'il n'y a pas (plus) d'image ou d'oeuvre possible, qu'il n'y a que ce noir, atome indiscernable et aboulique, comme si, contre la prison de l'être privé, spolié de son identité foncière il n'y avait, selon la formule du Murphy de Beckett "que dans le noir la liberté absolue". Le noir où il fallut - de gré ou force - que Mendieta retourne trop vite en une sorte de conduite forcée et forgée par cette oeuvre fulgurante qui face au néant aura peut-être rameuté le meilleur du pire en une économie de moyens qui donne la puissance de cette trajectoire d'une certaine manière absolue. Jean-Paul Gavard-Perret Sauf indication contraire les citations sont d'Ana Mendieta et tirées de divers catalogues. Lorsque Ana Mendieta meurt à New York en novembre 1985, cette jeune artiste de 36 ans (née à Cuba) n’est connue que d’un cercle restreint. Son œuvre radicale n’a été exposée que de façon relativement confidentielle depuis 1976 et c’est l’exposition du New Museum of Contemporary Art, en 1987 à New York, qui commence à mettre en lumière la force de ce travail.
Multipliant les techniques d’expression (dessins, sculptures, vidéos, photographies, installations) l’œuvre de Mendieta explore sans concession les relations du corps et de la nature, les légendes américaines ancestrales et les éléments (eau, air, terre, feu), croisant ce qu’on a pu appeler body-art et land-art.
Depuis 1991, la Galerie Lelong de New York, représentant en exclusivité la succession de l’artiste, a mené un important travail de recherche et d’expositions qui a conduit à des publications et rétrospectives muséales faisant qu’aujourd’hui Ana Mendieta est universellement reconnue comme une créatrice majeure dont l’œuvre ne cesse de féconder l’imaginaire de nouvelles générations d’artistes.
BIOGRAPHIE ANA MENDIETA
Born 1948 in Havana, Cuba
Died 1985 in New York SOLO EXHIBITIONS2011
“Ana Mendieta: Blood and Fire,” Galerie Lelong, Paris, France 2010 “Ana Mendieta: Documentation and Artwork, 1972-1985,” Galerie Lelong, New York, New York “Where is Ana Mendieta? Donde esta Ana Mendieta? 25 Years Later – An Exhibition and Symposium,” Fales Library, New York University, New York, New York “Silueta and Silence,” Alison Jacques Gallery, London, England 2009 “People Looking at Blood, Moffitt,” Signal Contemporary Art Center, Malmö, Sweden 2008 “Converge: Ana Mendieta and Hans Breder 1970-1980,” Galerie Lelong, New York, New York 2005 “Beyond the Performance: Ana Mendieta in the 1970’s,” Smith College Museum of Art, Northampton, Massachusetts “Heroines: Valie Export, Carolee Schneemann, Ana Mendieta,” Galerie Akinci, Amsterdam, The Netherlands 2004 “Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985,” Whitney Museum of American Art, New York City; Traveled through 2006 to the Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC; Des Moines Art Center, Des Moines, Iowa; Miami Art Museum, Miami, Florida “Film Works and Drawings 1974 - 1985,” Galerie Lelong, New York, New York Griffin Contemporary, Santa Monica 2002
“Ana Mendieta (1948 – 1985) – Body Tracks,” Neues Kunstmuseum Luzern, Lucerne, Switzerland; Traveled through 2003 to Fries Museum, Leeuwarden, The Netherlands “Ana Mendieta: Selected Works,” Kunst-Werke Berlin, KW Institute of Contemporary Art, Berlin, Germany 2000 “Ana Mendieta and Vito Acconci: A Relationship Study 1969-1976,” Galerie Lelong, New York, New York “Performance works, Siluetas, Drawings, and Objects,” Galerie Lelong, Zürich, Switzerland 1999 “Ana Mendieta and Marina Abramovic: Rest/energy,” Galerie Lelong, New York, in collaboration with Sean Kelly Gallery, New York, New York Galerie Akinci, Amsterdam, The Netherlands Galerie Nathalie Obadia, Paris, France “Selected Works,” Kunstwerke, Berlin, Germany 1998 Blum and Poe, Los Angeles, California Bernard Toale Gallery, Boston, Massachusetts Museum of Contemporary Art, Los Angeles, California 1997 “Body Imprints and Transformations,” Galerie Lelong, New York, New York Elba Benitez Galeria, Madrid, Spain 1996 “Ana Mendieta (1948–1985),” Helsinki City Art Museum, Helsinki, Finland; Traveled through 1997 to Uppsala Konstmuseum, Uppsala, Sweden; The Living Art Museum, Reykjavik, Iceland; and Museum of Contemporary Art, Roskilde, Denmark “Ana Mendieta,” Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain; Traveled through 2000 to Kunsthalle Dusseldorf, Dusseldorf, Germany; Fundació Antoni Tápies, Barcelona, Spain; Museo de Arte Contemporaneo de Monterrey, Mexico; and Museo Tamayo, Mexico City, Mexico “Ana Mendieta: photo etchings, photographs, & works on paper, Elizabeth Newman: collotypes & constructions,” Elizabeth Leach Gallery, Portland, Oregon 1995 Barbara Gross Galerie, Munich, Germany Galeria DV, San Sebastian, Spain 1994 “Ana Mendieta: Burial of the Nanigo,” Ruth Bloom Gallery, Santa Monica, California “Ana Mendieta: The Late Works,” Cleveland Center for Contemporary Art, Cleveland, Ohio Artothèque de Caen, France “Lineas, 1980-1983,” Galerie Lelong, New York, New York 1993 Centre d'Art Contemporain, Ile de Vassivière, France 1992 Laura Carpenter Fine Art, Santa Fe, New Mexico 1991 “Ana Mendieta: The Silueta Series,” Galerie Lelong, New York; Traveled through 1993 to University of Massachusetts, Dartmouth, North Dartmouth, Massachusetts; Wexner Center for the Arts, Columbus, Ohio; University Art Gallery, San Diego State University, San Diego, California; Freedman Gallery, Albright College, Reading, Pennsylvania 1990 Aspen Arts Museum, Aspen, Colorado Pat Hearn Gallery, New York, New York 1989 Carlo Lamagna Gallery, New York, New York 1988 Los Angeles Contemporary Exhibitions (LACE), Los Angeles, California Terne Gallery, New York, New York 1987 The New Museum of Contemporary Art, New York, New York 1985 Gallery AAM, Rome, Italy 1984 Primo Piano, Rome, Italy 1983 Museo Nacional de Bellas Artes, Havana, Cuba 1982 Douglas College, Rutgers University, New Brunswick, New Jersey The Lowe Art Museum, University of Miami, Miami, Florida The University Art Museum, University of New Mexico, Albuquerque, New Mexico Yvonne Seguy Gallery, New York, New York 1981 A.I.R. Gallery, New York, New York 1980 Colburn Gallery, University of Vermont, Burlington, Vermont Keane College, Union, New Jersey Museo de Arte Contemporaneo, São Paolo, Brazil 1979 A.I.R. Gallery, New York, New York 1977 Corroboree: Gallery of New Concepts, University of Iowa, Iowa City, Iowa 1976 112 Greene Street, New York, New York 1971 Iowa Memorial Union, University of Iowa, Iowa City, Iowa
GROUP EXHIBITIONS
2011
“TRA: The Edge of Becoming,” Palazzo Fortuny, Venice, Italy “Staging Action: Performance in Photography since 1960,” Museum of Modern Art, New York, New York “GOLDMINE: Contemporary Works From the Collection of Sirje and Michael Gold,” University Art Museum, California State University, Long Beach, California “Art and Confrontation in Latin America: 1910-2010,” Palacio de Bellas Artes and Ex Teresa Arte Actual, Mexico City, Mexico “Interventions in the Landscape,” Galerie Lelong, New York, New York
2010
“Electric Nights,” Centre Pompidou, Paris, France. Traveled to LABoral, Centro de Arte y Creación Industrial, Gijón, Spain “Modelos Para Armar,” Museo de Arte Contemporáneo de Castilla y León, León, Spain “Case Studies from the Bureau of Contemporary Art,” New Mexico Museum of Art, Santa Fe, New Mexico “Expanded Horizon,” Santander Cultural, Porto Alegre, Brazil “Fresh Hell,” Palais de Tokyo, Paris, France “Contemporary Art from the Collection,” Museum of Modern Art, New York, New York “What Are Clouds? Works from the Enea Righi Collection,” The Museum of Modern and Contemporary Art Bolzano, Italy “Crossing,” Paço das Artes, São Paolo, Brazil “Signs of Life: Ancient Knowledge in Contemporary Art,” Kunstmuseum Luzern, Lucerne, Switzerland “The Traveling Show,” La Colección Jumex, Mexico City, Mexico “No Barrier Fun,” Lisa Cooley Fine Art, New York, New York “The Original Copy: Photography of Sculpture, 1939 to Today,” Museum of Modern Art, New York. Traveled through 2011 to Kunsthaus Zurich, Switzerland “Other Than Beauty,” Friedman Benda, New York, New York “MODEL KITS. Thinking Latin America from the MUSAC Collection,” Museo de Arte Contemporáneo de Castilla y León, León, Spain “Flowers, Lies and Revolution: Contemporary Cuban Art,” Sheldon Museum of Art, Lincoln, Nebraska Collection Display: Level 5, “Energy and Process,” Tate Modern, London, England “Haunted: Contemporary Photography/Video/Performance,” Solomon R. Guggenheim Museum, New York, New York. Traveled to Guggenheim Museum Bilbao, Spain “The Visible Vagina,” David Nolan Gallery, New York, New York "Territories of Desire: Surfaces of Desire," Museo Universitario Arte Contemporaneo (MUAC), Mexico, D.F. “Donna: Feminist Avant-Garde of the 1970s,” Galleria nazionale d’arte moderna, Rome, Italy “Che cosa sono le nuvole? Artworks from the Enea Righi Collection,” Museion of modern and contemporary art, Bolzano, Italy
2009
“Collection: MOCA's First Thirty Years,” MOCA Grand Avenue, Museum of Contemporary Art, Los Angeles, California “Of People and Places: Contemporary Works from the JP Morgan Chase Art Collection,” Louisiana State University Museum of Art, Baton Rouge, Louisiana “Sin Centenario Ni Bicentenario: Revoluciones Alternas,” Universidad Iberoamericana, Mexico D.F., Mexico “Harsh Terrain,” Roberts & Tilton, Culver City, California “She is a Femme Fatale,” Museu Colecção Berardo - Arte Moderna e Contemporânea, Lisbon, Portugal “Action <> Reaction: Video Installations,” Detroit Institute of Arts, Detroit, Michigan “Flower Power,” Villa Giulia, Centro Ricerca Arte Attuale, Verbania, Italy “Las Americas Latinas. Las fatigas del querer,” Spazio Oberdan, Milan, Italy “Mexico: Expected / Unexpected,” The Isabel and Agustin Coppel Collection, Tenerife Espacio de las Artes, Tenerife, Spain. Traveled through 2011 to Stedelijk Museum Schiedam, the Netherlands; Museum of Contemporary Art San Diego, California “Performer,” Zacheta National Gallery of Art, Warsaw, Poland “Lest We Forget: The Voice of Art,” Weatherspoon Art Museum, Greensboro, North Carolina “A Mancha Humana / The Human Stain,” Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain “All That Is Solid Melts Into Air,” Cultuursite Mechelen, Belgium; organized by the Museum van Hedendaagse Kunst Antwerpen “Hundred Stories About Love,” 21st Century Museum of Contemporary Art, Kanazawa, Japan “Cuba! Art and History from 1868 to Today,” Groninger Museum, Groninger, the Netherlands “Rebelle: Art and Feminism 1969–2009,” Museum voor Moderne Kunst Arnhem, the Netherlands
2008
“Burning Down the House: Building A Feminist Art Collection,” Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, Brooklyn, New York “Origins,” Hudson Valley Center for Contemporary Art, Peekskill, New York “The Greenroom: Reconsidering the Documentary and Contemporary Art,” CCS Bard Galleries and Hessel Museum of Art, Annandale-on-Hudson, New York “re.act.feminism: performance art of the 1960’s and 70’s today,” Akademie der Kunste, Berlin, Germany “Isabel and Agustin Coppel Collection, Mexico: Expected / Unexpected,” La Maison Rouge, Paris, France “Modern Art. Modern Lives. Then + Now,” Austin Museum of Art, Austin, Texas “NeoHooDoo: Art for a Forgotten Faith,” Menil Collection, Houston, Texas; Traveled to P.S. 1 Contemporary Art Center, Long Island City, New York, Miami Art Museum, Miami, Florida “Body Memory,” Princeton University Art Museum, Princeton, New Jersey “Revolutions 1968,” Zacheta National Gallery of Art, Warsaw, Poland “Paths of Desire,” St. Ambrose University Catich Gallery, Galvin Fine Arts Center, Davenport, Iowa “Cancelled, Erased & Removed,” Sean Kelly Gallery, New York, New York “Paper Trail II: Passing Through Clouds,” Rose Art Museum, Brandeis University, Waltham, Massachusetts “SAND: Memory, Meaning and Metaphor,” Parrish Art Museum, Southampton, New York “Comme des bêtes: Ours, chat, cochon & cie,” Le Musee cantonal des Beaux-Arts de Lausanne, Switzerland “Highlights of the Permanent Collection: Women Artists,” The Bronx Museum, Bronx, New York “Arte No Es Vida: Actions by Artists of the Americas, 1960-2000,” El Museo del Barrio, New York, New York “Correspondences: Contemporary Art from the Coleccion Patricia Phelps de Cisneros,” Beard Gallery and Weil Gallery, Watson Fine Arts, Wheaton College, Norton, Massachusetts “Pop to the Present: New Questions, New Responses,” Wadsworth Atheneum Museum of Art, Hartford, Connecticut “Cuba! Artists Experience Their Country,” Hunterdon Museum of Art, Clinton, New Jersey “Sculptural Concepts,” Albertine Monroe-Brown Gallery, Richmond Center for Visual Arts, Western Michigan University, Kalamazoo, Michigan 2007 “LAB.07: Arte, Deshonra y Violencia en el Contexto Iberoamericano,” Centro Cultural de España Montevideo, Montevideo, Uruguay “Fortunate Objects: An Exploration of the Everyday in Art,” Cisneros Fontanals Art Foundation, Miami, Florida “Currents: Recent Acquisitions,” Hirshhorn Museum and Sculpture Garden, Washington, D.C. “New Perspectives in Latin American Art, 1930-2006: Prints, Photographs, and Media Works,” Museum of Modern Art, New York, New York “Beauty and the Blonde: An Exploration of American Art and Popular Culture,” Mildred Lane Kemper Art Museum, Kansas City, Missouri “Performance on Demand,” Electronic Arts Intermix Viewing Room at EFA Gallery, New York, New York “Plano Intimo,” n/2: Nuevos Medios, Sala Parpallo, Valencia, Spain “Live Art on Camera,” John Hansard Gallery, University of Southampton, Highfield, Southampton, United Kingdom “Six Feet Under: Autopsy of Our Relation to the Dead,” Kunstmuseum Bern, Bern, Switzerland; traveled through 2008 to the Deutsches Hygiene-Museum, Dresden, Germany “Death & Love in Modern Times,” Dinter Fine Art, New York, New York “The Naked Portrait,” Portrait Gallery, National Galleries of Scotland, Edinburgh, Scotland “A Batalla Dos Xéneros [Gender Battle],” Centro Galego de Arte Contemporanea (CGAC), Santiago de Compostela, Spain “New York States of Mind,” House of World Cultures, Berlin, Germany; Traveled through 2008 to Queens Museum of Art, Queens, New York “AGENTS of Change: Women, Art and Intellect,” Ceres Gallery, New York, New York “Conceptual Photography: 1964-1989,” Zwirner & Wirth, New York, New York “Constructing A Poetic Universe: The Diane and Bruce Halle Collection of Latin American Art,” Museum of Fine Arts Houston, Houston, Texas “En Primeira Persoa: Relacións do Suxeito na Intimidade,” Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain “Fast Forward: Contemporary Collections for the Dallas Museum of Art,” Dallas Museum of Art, Dallas, Texas “Luz ao Sul,” Convento del Carmen, Valencia, Spain “Out of Body,” Level B Gallery, Deutsche Bank, New York, New York “Role Play: Feminist Art Revisited 1960-1980,” Galerie Lelong, New York, New York 2nd Moscow Biennale of Contemporary Art “Footnotes on Geopolitics, Market, and Amnesia,” Moscow, Russia “Speed #1,” Institut Valencia d’Art Modern, Valencia, Spain “Cómo Vivar Juntas: Selección 27° Bienal de Sao Paulo,” Museo de Arte Contemporáneo, Universidad de Chile, Santiago, Chile “WACK! Art and the Feminist Revolution,” The Geffen Contemporary, Museum of Contemporary Art, Los Angeles, California; Traveled through 2008 to National Museum of Women in the Arts, Washington, D.C.; Vancouver Art Gallery, Vancouver, British Columbia, Canada; P.S.1 Contemporary Art Center, Long Island City, New York “Wrestle,” Hessel Museum of Art, Bard College, Annandale-on-Hudson, New York “Kiss Kiss Bang Bang” Bilbao Fine Arts Museum, Bilbao, Spain 2006 “A Curator’s Eye: the Visual Legacy of Robery A. Sobieszek,” Los Angeles County Museum of Art, Los Angeles, California “All Dressed Up With Nowhere to Go,” Sorcha Dallas, Glasgow, Scotland, United Kingdom Bienal de Sao Paulo, Sao Paulo, Brazil “Certain Encounters: Daros-Latinamerica Collection,” Morris and Helen Belkin Gallery, Vancouver, British Columbia, Canada “Civil Restitutions,” Thomas Dane Gallery, London, England “Drawn Into the World: Drawings from the MCA Collection,” Museum of Contemporary Art, Chicago, Illinois “Hair Die,” A/V, Rochester, New York “Into Me/Out of Me,” P.S.1 Contemporary Art Center, Long Island City, New York; Traveled through 2007 to KW Institute for Contemporary Art, Berlin, Germany; MACRO Future, Museo d’Arte Contemporanea Roma, Rome, Italy “Masquerade: Representation and the Self in Contemporary Art,” Museum of Contemporary Art, Sydney, Australia “Notations: Energy Yes!,” Philadephia Museum of Art, Philadelphia, Pennsylvania “Primera generación: Arte e imagen en movimiento [1963-1986],” Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain “The Downtown Show: The New York Art Scene, 1974-1984,” Grey Art Gallery, New York University, New York, “The Gesture,” Macedonian Museum of Contemporary Art, Thessaloníki, Greece “TRANSactions: Contemporary Latin American and Latino Art,” Museum of Contemporary Art San Diego, La Jolla, California; traveling through 2008 to Memorial Art Gallery, University of Rochester, Rochester, New York; High Museum of Art, Atlanta, Georgia; Weatherspoon Art Museum, Greensboro, North Carolina; Sheldon Art Museum, Lincoln, Nebraska 2005 “Self Portrait: Renaissance to Contemporary,” National Portrait Gallery, London, United Kingdom; Traveled to the Art Gallery of New South Wales, Sydney, Australia “Bodies of Evidence: Contemporary Perspectives,” The RISD Museum, Rhode Island School of Design, Providence, Rhode Island “Collection Remixed,” Bronx Museum of the Arts, Bronx, New York “Guess Who’s Coming To Dinner,” Remy Toledo Gallery, New York, New York “Indeterminate States: Video from the Cisneros Fontanals Collection,” Cisneros Fontanals Art Foundation, Miami, Florida “Linkages and Themes in the African Diaspora: Selections from the Eileen Harris Norton and Peter Norton Art Collections,” Museum of the African Diaspora, San Francisco, California “Points of View: Landscape and Photography,” Galerie Lelong, New York, New York “SlideShow,” Baltimore Museum of Art, Baltimore, Maryland; Traveled to the Contemporary Arts Center, Cincinnati, Ohio “The World is a Safer Place: A Survey of Nonconformist Art,” Globe City Gallery, Newcastle-upon-Tyne, England 2004 Inaugural Exhibit in the Edward Steichen Photography Galleries, Museum of Modern Art, New York, New York “After Image,” Victoria Miro Gallery, London, United Kingdom “Esprit,” Galerie Nathalie Obadia, Paris, France “I Am the Walrus,” Cheim and Reid, New York, New York “Il Bello e le bestie,” Museo di Arte Moderna e Contemporanea di Trento e Roverto, Trento, Italy “Paisaje & Memoria [Landscape & Memory],” Centro Atlantico de Arte Moderno, Vegueta, Spain “Photo Exhibit” Barbara Gross Galerie, Munich, Germany “Traces: Body and Idea in Contemporary Art,” The National Museum of Modern Art, Kyoto, Japan; Traveled to the National Museum of Modern Art, Tokyo, Japan 2003 “Only Skin Deep: Changing Visions of the American Self,” International Center of Photography, New York, New York “Artists’ Choice: Mona Hatoum, ‘Here is Elsewhere’,” Museum of Modern Art, New York, New York “After Image,” The Fruitmarket Gallery, Edinburgh, Scotland “And the One Doesn’t Stir without the Other,” Ormeau Baths Gallery, Belfast, Northern Ireland “Last Picture Show: Artists Using Photography, 1960 – 1982,” Walker Art Center; Traveled through 2004 to UCLA Hammer Museum, Los Angeles, California; and Fotomuseum Winterthur, Zürich, Switzerland “M_ARS: Art and War,” Neue Galerie Graz, Graz, Germany “Through the Looking Glass: Women and Self-Representation in Contemporary Art,” Palmer Museum of Art, Pennsylvania State University, University Park, Pennsylvania 2002 "1968 - 1977, l'Art en Cause,” Musee d’Art Contemporain de Bordeaux, Bordeaux, France “Gloria: Another Look At Feminist Art of the 1970s,” White Columns, New York, New York; Traveled through 2004 to The Galleries at Moore, Moore College of Art and Design, Philadelphia, Pennsylvania; and The RISD Museum, Rhode Island School of Design, Providence, Rhode Island “Structures of Difference,” Wadsworth Atheneum Museum of Art, Hartford, Connecticut “The Gift: Generous Offerings, Threatening Hospitality,” The Bronx Museum of the Arts, Bronx, New York “Visions from America: Photographs from the Whitney Museum of American Art,” Whitney Museum of American Art, New York, New York 2001 “Burn: Artists Play with Fire,” Norton Museum of Art, West Palm Beach, Florida “Echoes of the Scream,” Arken Museum for Moderne Kunst, Skovvej, Denmark; Munch-Musset, Oslo, Norway “El Instante Eterno: Art and Spirituality at the Change of Millennium,” Espai d’Art Contemporani de Castelló, Castelló, Spain “Il Dono, offerta ospitalita insidia,” Palazzo Delle Papesse, Centro Arte Contemporanea, Siena, Italy “Minimalism Past And Presence,” Galerie Lelong, New York, New York “New York ca. 1975,” David Zwirner Gallery, New York, New York 2000 “Afro-Cuba, ‘Woman’ and History in the Works of Ana Mendieta, María Magdalena Campos-Pons, and Marta María Pérez Bravo,” William Benton Museum of Art, University of Connecticut, Storrs, Connecticut Barbara Gross Galerie, Munich, Germany “Good Business Is the Best Art: Twenty Years of the Artists in the Marketplace Program,” Bronx Museum of the Arts, Bronx, New York “Hypermental: Rampant Reality 1950-2000,” Kunsthaus Zürich, Zürich, Switzerland; Traveled through 2001 to Hamburger Kunsthall, Hamburg, Germany “Mennesket – Et halvt arhundrede set gennem kroppem (MAN – Body in art from 1950 to 2000),” Arken Museum for Moderne Kunst, Skovvej, Denmark “Performing Bodies,” Tate Modern, London, England “Postmedia: Conceptual Photography in the Guggenheim Collection,” Solomon R. Guggenheim Museum, New York, New York Sabine Kunst Gallery, Munich, Germany “Tempus Fugit: Time Flies,” Nelson-Atkins Museum of Art, Kansas City, Missouri “The End: An Independent Vision of the History of Contemporary Culture,” Exit Art, New York, New York “The Swamp: On the Edge of Eden,” Harn Museum of Art, University of Florida, Gainesville, Florida; Traveled through 2001 to Cummer Museum of Art & Gardens, Jacksonville, Florida “The Wounded Diva,” Galerie im Taxispalais, Innsbruck, Austria “Vanitas Personae: An Exploration of Self and Other Related Characters,” Robert Miller Gallery, New York, New York “Vivências (Life Experiences),” Generali Foundation, Vienna, Austria 1999 “Drip, Blow, Burn: Forces of Nature in Contemporary Art,” The Hudson River Museum, Yonkers, New York “Earthworks on Paper,” 871 Fine Arts, San Francisco, California “Impact: Revealing sources For Contemporary Art,” Contemporary Museum, Baltimore, Maryland “Latin American Still Life: Reflections of Time and Place,” Katonah Art Museum, Katonah, New York “Lie of the Land, earth.body.material,” John Hansard Gallery, University of South Hampton, Highfield, Southampton, England “Natural Reality,” The Ludwig Forum, Cologne, Germany “Nature Is Not Romantic,” Leubsdorf Art Gallery, Hunter College, New York, New York “Powder: The Myth of Mortality,” Aspen Museum of Art, Aspen, Colorado “Reflections of Time and Place: Latin American Still Life in the 20th Century,” Katonah Museum of Art, Katonah, New York “Regarding BEAUTY in Performance and the Media Arts, 1960-1999,” Hirshhorn Museum and Sculpture Garden, Washington, D.C “Skin-Deep, Surface and Appearance in Contemporary Art,” The Israel Museum, Jerusalem, Israel 1998 “25 Years of A.I.R.: The First Women Artists Cooperative in America,” Kingsborough Community College, Art Gallary of the City University of New York, New York Art Museum of South Texas, Corpus Christi, Texas “Bilan/Actualité 1991-1998,” Centre d’art Contemporain de Vassiviere, Limousin, France “Desde el cuerpo: alegorias de lo femenino (From the Body: Feminine Allegories),” Fundacion Museo de Bellas Artes, Caracas, Venezuela “Etre Nature,” Fondation Cartier pour l’art contemporain, Paris, France “Extensions: Aspects of the Figure,” Joseloff Gallery, Hartford Art School, West Hartford, Connecticut Galerie Lelong, New York, New York Galerie Lelong, Paris, France “Jardin d’Artiste: de mémoire d’arbre,” Musée Zadkine, Paris, France “Mirror Images: Women, Surrealism, and Self-Representation,” List Center, Massachusetts Institute of Technology, Cambridge, Massachusetts; Traveled through 1999 to Miami Art Museum, Miami Florida; and San Francisco Museum of Modern Art, San Francisco, California “Out of Actions: Between Performance and the Object 1949-1979,” The Museum of Contemporary Art Los Angeles, Los Angeles, California; Traveled to Museu de Art Contemporani de Barcelona, Barcelona, Spain; MAK Austrian Museum of Applied Arts, Vienna, Austria; Museum of Contemporary Art Tokyo, Tokyo, Japan; and National Museum of Modern Art, Osaka, Japan. “Play Mode,” The Art Gallery, University of California, Irvine, California “Space/Sight/Self,” The David and Alfred Smart Museum of Art, The University of Chicago, Chicago, Illinois 1997 “2nd Johannesburg Biennial: Alternating Currents,” Johannesburg, South Africa “The Body: Expression/Impression,” Video Gallery, Philadelphia Museum of Art, Philadelphia, Pennsylvania “5th International Istanbul Biennial: On Life, Beauty, Translations, and Other Difficulties,” Istanbul, Turkey “Amours,” La Fondation Cartier pour l’art contemporain, Paris, France “Body,” The Art Gallery at New South Wales, Sydney, Australia “Breaking Barriers: Selections from the Museum of Art's Cuban Selection,” The Museum of Art, Fort Lauderdale, Florida “Defining Eye: Women Photographers of the 20th Century,” St. Louis Art Museum, St. Louis, Missouri; Traveled through 1999 to The Museum of Fine Arts, Santa Fe, New Mexico; The Mead Art Museum, Amherst College, Amherst, Massachusetts and the Wichita Art Museum, Wichita, Kansas Steirischer herbst 97, Graz, Germany “Tarentella,” PS 122, New York, New York 1996 “20/20: The Visionary Legacy of Doris Chanin Freedman,” Freedman Gallery, Albright College Center for the Arts, Reading, Pennsylvania “Body as Membrane,” Kunsthallen Brandts Klaedefabrik, Odense, Denmark “Bodyscape,” Barbara Gross Galerie, Munich, Germany “Collective Soul: Ana Mendieta, Maria Fernanda Cardoso, Valeska Soares,” Galeria Marabini, Bologna, Italy “Cuba Siglo XX: Modernidad y Sincretismo,” Centro Atlántico de Arte Moderno, Las Palmas de Gran Canaria, Spain; Traveled through 1997 to Fundació La Caixa, Palma de Mallorca, Spain and Centro d'Art Santa Monica, Barcelona, Spain “Divine Flesh: Contemporary Goddess Imagery,” Artopia, New York, New York “Multiple Identity: Works from the Whitney Museum of American Art,” Museum of Contemporary Art, Barcelona, Spain; Traveled through 1997 to Kunstmuseum Bonn, Bonn, Germany “Inclusion/Exclusion: Art in the Age of Post-Colonialism and Global Migration,” Streirischer Herbst 96, Graz, Austria “Inside the Visible: an Elliptical Traverse of Twentieth Century Art In, Of, and From the Feminine,” Institute of Contemporary Art, Boston, Massachusetts; Traveled through 1997 to the National Museum of Women in Arts, Washington, D.C.; the Whitechapel Art Gallery, London, England; the Art Gallery of Western Australia, Perth, Australia “Making Pictures: Women and Photography, 1975-Now,” Nicole Klagsburn Gallery, New York, New York; Traveled to the Bernard Toale Gallery, Boston, Massachusetts “More than Minimal: Feminism and Abstraction in the '70s,” Rose Art Museum, Brandeis University, Waltham, Massachusetts “Refiguring Nature: Women in the Landscape,” SF Camerawork, San Francisco, California “Sin Fronteras-Arte Latinoamericano Actual,” Museo Alejandro Otero, Caracas, Venezuela “Sexual Politics: Judy Chicago's "Dinner Party" in Feminist Art History,” the Armand Hammer Museum of Art and Cultural Center, University of California at Los Angeles, Los Angeles, California 1995 “Artists Talk Back: Visual Conversations with El Museo – Part III: Reaffirming Spirituality,” El Museo del Barrio, New York, New York 100 Greene Street, New York, New York “A Selected Survey, 1983 - 1995,” Pat Hearn Gallery, New York, New York “Being Human: Lucina Freud, Ann Hamilton, Lilian Hsu-Flanders, Dennis Kardon, Sol LeWitt, Ana Mendieta, Laurie Simmons, Kiki Smith,” Rabb Gallery, Museum of Fine Arts, Boston, Massachusetts “Fact and Fiction: Photographs from the Permanent Collection,” Whitney Museum of American Art at Champion, Stamford, Connecticut “Faith Hope Love Death,” Kunsthalle Wien, Vienna, Austria “Féminin-Masculin: Le sexe de l'art,” Musée national d'art Moderne, Centre Georges Pompidou, Paris, France “Latin American Women Artists, 1915 - 1995,” Milwaukee Art Museum, Wisconsin; Traveled through 1996 to Phoenix Museum of Art, Phoenix, Arizona; Denver Art Museum, Denver, Colorado; National Museum of Women in the Arts, Washington, D.C.; and Center for Fine Arts, Miami, Florida “Sniper's Nest: Art that has Lived with Lucy R. Lippard,” Center for Curatorial Studies, Bard College, Annandale-on-Hudson, New York “Under Glass,” Charles Cowles Gallery, New York 1994 “A Sense of Place,” Elizabeth Leach Gallery, Portland, Oregon “American Voices: Latino Photography in the U.S.,” FotoFest, Houston, Texas “Outside the Frame: Performance and the Object. A Survey of Performance Art in the USA since 1950,” Cleveland Center for Contemporary Art, Cleveland, Ohio; Traveled through 1995 to Snug Harbor Cultural Center, Staten Island, New York “Rejoining the Spiritual: The Land in Contemporary Latin American Art,” Maryland Institute College of Art, Baltimore, Maryland “The Label Show: Contemporary Art and the Museum,” Museum of Fine Arts, Boston, Massachusetts “Transcending the Borders of Memory: Maria Brito, Maria Magdalena Campos-Pons, Maria Martinez-Canas, Ana Mendieta,” Norton Gallery of Art, West Palm Beach, Florida “Visceral Responses,” Holly Solomon Gallery, New York, New York “XI Mostra da Gravura Icode de Curitiba,” Fundacao Cultural de Curitiba, Curitiba, Brazil 1993 “1920,” Exit Art, New York, New York “Body Parts,” Haines Gallery, San Francisco, California “Beyond Boundaries: Art of the Sixties and Seventies,” San Francisco Museum of Modern Art, San Francisco, California “Differentes Natures, Visions de l'Art Contemporain," Galerie Art 4 and Galerie de l’Esplanade, Place de la Défense, Paris; Traveled through 1994 Palau de la Virreina, Barcelona, Spain Galerie Lelong, New York, New York “I am the Enunciator,” Thread Waxing Space, New York, New York “Latin American Artists of the 20th Century,” Museum of Modern Art, New York, New York; Traveled to Kunsthalle Köln, Cologne, Germany; Estacio Plaza de Armas, Sevilla, Spain; Musée National d'Art Moderne, Paris, France; and Hotel des Arts, Fondation Nationale des Arts, Paris, France “Personal Choice: Selections from Four Penn Alumni Collections – Carlos and Rosa de la Cruz, William and Phyllis Mack, Martin Z. Margulies, Ruth and Marvin Sackner,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania “Photoplay: Works from the Chase Manhattan Collection”, Center for Fine Arts, Miami, Florida; Traveled through 1994 to Museo Amparo, Puebla, Mexico; Museo de Arte Contemporaneo de Monterrey, Monterrey, Mexico; Centro Cultural Consolidado, Caracas, Venezuela; Museo de Arte de São Paulo, São Paulo, Brazil; Museo Nacional de Bellas Artes, Buenos Aires, Argentina; Museo de Bellas Artes, Santiago, Chile “The Subject of Rape,” Whitney Museum of American Art, New York, New York 1992 “Americas,” The Convent of Santa Clara, Seville, Spain, Il Biennale Barro de America, Caracas, Venezuela “AnteAmerica,” Biblioteca Luis Angel Arango, Bogotá, Colombia; Traveled through 1993 to Museo de Artes Visuales Alejandro Otero, Caracas, Venezuela; Spencer Art Museum, Lawrence, Kansas; Queens Museum of Art, Queens, New York; Centro Cultural de la Raza, San Diego, California; Yerba Buena Center for the Arts, San Francisco, California; Museo de Arte y Diseño Contemporaneo, San Jose, Costa Rica “Ver America,” Koninklijk Museum voor Schone Kunsten, Antwerp, Belgium 1991 “Art on Paper,” Weatherspoon Gallery, University of North Carolina at Greensboro, Greensboro, North Carolina “Cuba-USA: The First Generation,” Fondo Del Sol Visual Art and Media Center, Washington, D.C.; Traveled to Museum of Contemporary Art, Chicago, Illinois; Minnesota Museum of Art, St. Paul, Minnesota; Art Museum at Florida International University, Miami, Florida “Devil on the Stairs: Looking Back on the Eighties,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania; Traveled to the Newport Harbor Museum [now the Orange County Museum of Art], Newport Beach, California “El Corazón Sangrante: The Bleeding Heart,” Institute of Contemporary Art, Boston, Massachusetts; Traveled through 1992 to Contemporary Arts Museum, Houston, Texas; Institute of Contemporary Art, Philadelphia, Pennsylvania; Mendel Art Gallery, Saskatoon, Saskatchewan, Canada; Newport Harbor Art Museum, Newport Beach, California; Museo de Bellas Artes de Caracas, Caracas, Venezuela; Museo de Arte Contemporáneo de Monterrey, Monterrey, Mexico “Experiencing Sculpture: The Figurative Presence in America 1870-1990,” The Hudson River Museum, Yonkers, New York “Reclaiming the Spirit,” Vreg Baghoomian Gallery, New York, New York “Show of Strength,” MADRE exhibition and auction, Anne Plumb Gallery, New York, New York “The Contemporary Drawing: Existence, Passage and the Dream,” Rose Art Museum, Brandeis University, Waltham, Massachusetts “Visions, Fantasies and Mind Wanderings,” Lintas: Worldwide, New York, New York “With Nature,” Galerie Lelong, New York, New York 1990 “Art As Artifact,” Institute of Contemporary Art, Philadelphia, Pennsylvania “Exoticism.” Ezra & Cecile Zilkha Gallery, Wesleyan University, Middletown, Connecticut “Figurative Perspectives: 6 Artists of Latin American Background,” Rockland Center for the Arts, West Nyack, New York “Landscape/Mindscape,” Carlo Lamagna Gallery, New York, New York “Revered Earth,” The Center for Contemporary Arts, Santa Fe, New Mexico; Traveled to Contemporary Art Museum, Houston, Texas; and Laumeier Sculpture Park, St. Louis, Missouri “Sacred Forces: Contemporary and Historical Perspectives,” San Jose State University, San Jose, California “Signs of Life - Process and Materials. 1960-1990,” Institute of Contemporary Art, University of Pennsylvania, Philadelphia, Pennsylvania “Signs of the Self: Changing Perceptions,” Woodstock Artists Association, Woodstock, New York “The Decade Show: Frameworks of Identity in the 1980s,” The New Museum of Contemporary Art in collaboration with the Museum of Contemporary Hispanic Art and the Studio Museum in Harlem, New York, New York 1989 “Earth: Latin America's Visions,” Museum of Contemporary Hispanic Art, New York, New York; Traveled to Museo de Bellas Artes, Caracas, Venezuela “Lines of Vision: Drawings By Contemporary Women,” Blum Helman Gallery, New York, New York; Traveled to Hillwood Art Gallery, Long Island University, Long Island, New York; Murray State University, Murray, Kentucky; Grand Rapids Art Museum, Grand Rapids, Michigan; University Art Gallery, University of North Texas, Denton, Texas; Richard F. Brush Gallery, Saint Lawrence University, Canton, New York; The University of Oklahoma Museum of Art, Norman, Oklahoma 1988 “Alter/Altar,” Carlo Lamagna Gallery, New York, New York “Autobiography in Her Own Images,” INTAR Gallery, New York, New York “Figures: Form and Fiction,” Everson Museum of Art, Syracuse, New York “Heresies: Issues That Won't Go Away,” PPOW Gallery, New York, New York “Just Like a Woman, Greenville County Museum of Art, Greenville, North Carolina “Transformative Visions,” Newhouse Center for Contemporary Arts, Snug Harbor, New York 1987 “From the Other Side,” Terne Gallery, New York, New York 1986 “Caribbean Art/African Currents,” Museum of Contemporary Hispanic Art, New York, New York “In Homage to Ana Mendieta,” Zeus-Trabia Gallery, New York, New York “Race and Representation,” Hunter Gallery, Hunter College, New York, New York 1985 “Awards in the Visual Arts 4,” Southeastern Center for Contemporary Art, Winston-Salem, North Carolin. Traveled to Albright-Knox Art Gallery, Buffalo, New York 1984 American Academy in Rome, Rome, Italy “Aqui: Latin American Artists Working and Living in the United States,” Fisher Gallery, University of Southern California, Los Angeles, California; Traveled to: May Porter Sesnon Gallery, Porter College, University of California, Santa Cruz, California “Borsiste Straniere in Italia,” Il Signo a Spoleto, Palazzo Piccoli, Spoleto, Italy “Furrows,” Rhode Island School of Design, Providence, Rhode Island “Land Marks,” Edith C. Blum Art Institute, Bard College, Annandale-on-Hudson, New York “Latin American Visual Thinking,” Art Awareness, Lexington, New York “MacArthur Park Public Art Program: Phases I-IV,” Otis Art Institute at Parsons School of Design, Los Angeles, California “National Women's Art Exhibition,” Women's Pavilion, Louisiana World's Fair, Kenner, Louisianna “Soul Catchers,” Stellweg-Seguy Gallery, New York, New York 1983 “Contemporary Latin American Art,” Chrysler Museum, Norfolk, Virginia “Exchange of Sources: Expanding Powers,” California State College, Stanislaus, California “Feminist Art: Issues and Images,” Hamilton College, Clinton, New York “Latin American Women Artists,” Central Hall Artist, New York, New York “Printed By Women,” The Print Club, Philadelphia, Pennsylvania “Seven Women: Image/Impact,” P.S. 1, The Institute for Art and Urban Resources, Inc., Long Island City, New York “The Fertility Imperative,” Cuchalon Gallery, New York, New York 1982 “4 Manifestoes,” Lerner-Heller Gallery, New York, New York “Art Across the Park,” El Museo del Barrio, New York, New York “Contemporary Outdoor Sculpture at the Guild,” The Guild Inn, Toronto, Canada “¡Luchar! An Exhibition for the People of South America,” Taller Latino America, New York, New York “Nature and Metaphor,” Greene Space Gallery, New York, New York “Primer Salon Fotografia,” Galeria Havana Libre, Havana, Cuba “Ritual and Rhythm: Visual Forces for Survival,” Kenkeleba House, New York, New York “Seventh Season Part II,” Real Art Ways, Hartford, Connecticut “Women of the Americas: Emerging Perspectives,” The Center for Inter-American Relations and Konkos Gallery, New York, New York 1981 “IV Medellin Art Biennial,” Museo de Arte Moderno de Medellin, Medellin, Columbia A.I.R. Gallery, New York, New York “Art and Ecological Issues,” Hunter Gallery, Hunter College, New York, New York “From the Files: VARS at JAM,” Just Above Midtown, New York, New York Helen Sklien Gallery, Boston, Massachusetts “Latin American Art: A Woman's View,” Frances Wolfson Art Gallery, Dade Community College, Miami, Florida Lunds Kontshall, Lund, Sweden “Primer Salon de Pequeno Formato,” Galeria Havana Libre, Havana, Cuba “Projects in Nature,” Wave Hill, The Bronx, New York “Ritual and Landscape,” Touchstone Gallery, New York, New York “Sculpture Garden,” Wards Island, New York, New York “Streetworks,” Washington Project for the Arts, Washington, D.C. “Transformation: Women in Art 1970-1980,” Art Expo 1981, New York, New York “Voices Expressing What Is,” Westbeth Gallery, New York, New York 1980 “Art Across the Park,” Central Park, Sculpture Garden, and Wards Island, New York, New York “Dialects: Diverse Bookworks by Black and Hispanic Artists,” Franklin Furnace, New York, New York “Dialects of Isolation: An Exhibition of Third World Women Artists in the United States,” A.I.R. Gallery, New York, New York “Latin American Artists-80,” Cayman Gallery, New York, New York “Plakat Action,” Frankfurt, Germany “Renderings of Modern Woman,” Joseloff Gallery, University of Hartford, Hartford, Connecticut “Women/Image/Nature,” Tyler School of Art, Temple University, Philadelphia, Pennsylvania; Traveled to Rochester Institute of Technology, Rochester, New York 1979 112 Greene Street, New York, New York A.I.R. Gallery “By the Sea,” Queens Museum, Queens, New York “CAPS Sculpture Show,” College of Fine and Applied Arts, Rochester Institute of Technology, Rochester, New York “Exchanges I,” Abron Arts Center, Henry Street Settlement, New York, New York “Expressions of Self: Women and Autobiography,” Douglass College Art Galelry, Rutgers University, New Brunswick, New Jersey “Lines, Points & Planes,” The Roosevelt Public Library Art Workshop Gallery, Roosevelt, New York Mason Gross School for the Arts Gallery, Rutgers University, New Brunswick, New Jersey “Private Icon,” Bronx Museum of Arts, Bronx, New York “Window to the South,” Abron Arts Center, Henry Street Settlement, New York, New York 1978 “Spaces II,” Amelie A. Wallace Gallery, State University of New York of Old Westbury, Old Westbury, New York “Variations on Latin Themes in New York,” The Center for Inter-American Relations, New York, New York “Work in Progress,” C Space, New York, New York 1977 A.I.R. Gallery, New York, New York “Contact: Women and Nature,” Hurlbutt Gallery, Greenwich, CT “Corroboree: Gallery of New Concepts,” University of Iowa, Iowa City, IA “Feminist Statements,” Women's Building, Los Angeles, CA “M.F.A. Exhibition 1976-1977,” Museum of Art, University of Iowa, Iowa City, Iowa “Raices Antigues/ Visiones Nuevas (Ancient Roots/New Visions),” Tucson Museum Art, Tuscon, Arizona; Traveled through 1979 to National Collection of Fine Art, Washington, D.C.; Albuquerque Museum of Art, Albuquerque, New Mexico; El Paso Museum of Art, El Paso, Texas; Blaffer Gallery, Houston, Texas; Colorado Springs Fine Arts Center, Colorado Springs, Colorado; Everson Art Museum, Syracuse, New York; San Antonio Art Museum, San Antonio, Texas; Museum of Contemporary Art, Chicago, Illinois 1976 “Mexico,” University of Iowa, Iowa City, Iowa 1975 112 Greene Street, New York, New York SELECTED PERFORMANCES 1982 “Body Tracks,” Franklin Furnace, New York, New York 1978 “La Noche, Yemaya,” Franklin Furnace, New York, New York 1976 “Untitled (Blood and Feathers),” Studenski Kulturni Center, Belgrade, Yugoslavia “Untitled (Blood and Feathers),” International Culture Center, Antwerp, Belgium 1975 Center for the New Performing Arts, University of Iowa, Iowa City 1974 Center for the New Performing Arts, University of Iowa, Iowa City The Museum of Art, University of Iowa, Iowa City Universidad Professional Zacatenco, Mexico City, Mexico University of Wisconsin, Madison, Wisconsin 1973 Clinton Arts Center, Clinton, Iowa “Freeze,” Center for the New Performing Arts, University of Iowa, Iowa City 1972 Center for the New Performing Arts, University of Iowa, Iowa City
AWARDS
2009 Visual Arts Lifetime Achievement Award, Cintas Foundation, New York, New York 1984 Award in the Visual Arts, Southeastern Center for Contemporary Art (SECCA), Winston-Salem, North Carolina 1983 Rome Prize, American Academy in Rome 1982 National Endowment for the Arts Fellowship New York State Council on the Arts Grant 1980 John Simon Guggenheim Foundation Fellowship National Endowment for the Arts Grant 1979 Creative Arts Program Services Grant, New York Foundation for the Arts 1977 National Endowment for the Arts Grant
PUBLIC COLLECTIONS
21st Century Museum of Contemporary Art, Kanazawa, Japan Addison Gallery of American Art, Phillips Academy, Andover, MA Allen Memorial Art Gallery, Oberlin College, Oberlin, OH American Patrons of Tate, New York City Art Gallery of New South Wales, Sydney, Australia Art Institute of Chicago,Chicago, IL Bacardi Art Foundation, Miami, FL William Benton Museum of Art, University of Connecticut, Storrs, CT Blanton Museum of Art, The University of Texas at Austin, Austin, TX Brooklyn Museum, Brooklyn, New York Centre Georges Pompidou, Paris, France Centro Andaluz de Arte Contemporaneo, Sevilla, Spain Centro Atlantico de Arte Moderno, Vegueta, Spain Centro Cultural Contemporaneo, Mexico Chase Manhattan Bank, New York Contemporary Art Museum St. Louis, St. Louis, MO Dallas Museum of Fine Art (promised gift) Daros-Latinamerica AG, Zürich, Switzerland Davis Museum and Cultural Center, Wellesley College, MA De la Cruz Collection Contemporary Art Space, Miami, FL Des Moines Art Center, Des Moines, IA El Museo del Barrio, New York City First Chicago National Bank, Chicago, IL Florida International University, Miami, FL Fort Lauderdale Museum of Art, Fort Lauderdale, FL Fogg Art Museum, Harvard University, Cambridge, MA Fundação de arte Moderna e Contemporânea - Museu Berardo, Lisbon, Portugal Fundacion Museo de Arte Contemporaneo del Zulia (Maczul), Caracas, Venezuela The Gallery of New South Wales, Australia Glenstone Museum, Potomac, MD Solomon R. Guggenheim Museum, New York Helsinki City Art Museum, Helsinki, Finland Henry Art Gallery, University of Washington, Seattle, WA Hessel Museum of Art, Bard College, Annandale-on-Hudson, NY Hirshhorn Museum and Sculpture Garden, Washington, DC International Sculpture Center, Hamilton, NJ LINC Collection, Chicago, IL The Los Angeles County Museum of Art, CA The Metropolitan Museum of Art, New York City Miami Art Museum, Miami, FL Miami Dade Public Library, Miami, FL Milwaukee Art Museum, Milwaukee WI Musee d’Art Moderne et Contemporain (MAMCO), Geneva, Switzerland Museo de Arte Contemporáneo de Castilla y León, León, Spain Museum of Contemporary Art, Chicago, IL Museum of Contemporary Art, Los Angeles, CA Museum of Contemporary Art, Miami, FL Museum of Fine Arts, Boston, MA Museum of Fine Arts, Webster University, St. Louis, Missouri The Museum of Modern Art, New York City National Gallery of Art, Washington, DC Neues Kunstmuseum Luzern, Switzerland New Museum of Contemporary Art, New York City Newark Museum, Newark, NJ New York Public Library, New York City Norton Museum of Art, West Palm Beach, FL Palmer Museum, Penn State University, University Park, PA Philadelphia Museum of Art, Philadelphia PA Princeton University Art Museum, Princeton, NJ Reina Sofia, Madrid, Spain Rhode Island School of Design, Providence, RI Rose Art Museum, Brandeis University, Waltham, MA Sammlung Verbund, Vienna, Austria Samuel P. Harn Museum of Art, University of Florida, Gainesville, FL San Francisco Museum of Modern Art, CA Smithsonian American Art Museum, Washington, D.C. Spencer Museum of Art, The University of Kansas, Lawrence, KS Tate Modern, London, England The Toledo Museum of Art, Toledo, OH University of Iowa, Iowa City, IA Villa Schöningen, Berlin Wadsworth Atheneum, Hartford, CT Walker Art Center, Minneapolis, Minnesota Weatherspoon Art Museum, University of North Carolina, Greensboro, NC Wexner Center for the Visual Arts, Columbus, OH Whitney Museum for American Art, New York William Benton Museum of Art, University of Connecticut, Storrs, CT Yale University Art Gallery, New Haven, CT |
