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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-06-11/
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-06-13/
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-06-18/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-06-20/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-06-25/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-06-27/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-02/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-04/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-09/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-11/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-16/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
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DTSTART;TZID=America/New_York:20260718T100000
DTEND;TZID=America/New_York:20260718T170000
DTSTAMP:20260611T162849
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031883-1784368800-1784394000@gridphilly.com
SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-18/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTEND;TZID=America/New_York:20260723T170000
DTSTAMP:20260611T162849
CREATED:20260409T021546Z
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-23/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTART;TZID=America/New_York:20260725T100000
DTEND;TZID=America/New_York:20260725T170000
DTSTAMP:20260611T162849
CREATED:20260409T021546Z
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-25/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTAMP:20260611T162849
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-07-30/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTAMP:20260611T162849
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-01/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTEND;TZID=America/New_York:20260806T170000
DTSTAMP:20260611T162849
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UID:10031893-1786010400-1786035600@gridphilly.com
SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-06/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
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DTEND;TZID=America/New_York:20260808T170000
DTSTAMP:20260611T162849
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-08/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTEND;TZID=America/New_York:20260813T170000
DTSTAMP:20260611T162849
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-13/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTART;TZID=America/New_York:20260815T100000
DTEND;TZID=America/New_York:20260815T170000
DTSTAMP:20260611T162849
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031899-1786788000-1786813200@gridphilly.com
SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-15/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
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DTSTART;TZID=America/New_York:20260820T100000
DTEND;TZID=America/New_York:20260820T170000
DTSTAMP:20260611T162849
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031901-1787220000-1787245200@gridphilly.com
SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-20/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
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DTSTART;TZID=America/New_York:20260822T100000
DTEND;TZID=America/New_York:20260822T170000
DTSTAMP:20260611T162849
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-22/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTART;TZID=America/New_York:20260827T100000
DTEND;TZID=America/New_York:20260827T170000
DTSTAMP:20260611T162849
CREATED:20260409T021546Z
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-27/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTART;TZID=America/New_York:20260829T100000
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DTSTAMP:20260611T162849
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-08-29/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTART;TZID=America/New_York:20260903T100000
DTEND;TZID=America/New_York:20260903T170000
DTSTAMP:20260611T162849
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031909-1788429600-1788454800@gridphilly.com
SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-09-03/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-09-05/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-09-10/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-09-12/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-09-17/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-09-19/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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