Pennsylvania Academy of the Fine Arts

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

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. As 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

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

Rooted in painting but extending into architecture and social space, the exhibition positions love not as a private or sentimental subject, but as a serious aesthetic, political, and communal structure. To reinaugurate the newly renovated Morris Gallery, PAFA presents Kati Gegenheimer: We’ve Only Just Begun, an immersive monographic exhibition exploring love–familial, romantic, or brotherly–at this moment of profound social division. Anchored by a symbol-laden painted musical score of the titular line from the Carpenters’ 1970 song, the exhibition presents works surveying how love is a necessary choice to be cultivated, measured, sustained, or dismissed, over time. Rooted in painting but

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human

“My concern is with humanity. I want to confront the viewer with life and with what we are doing to each other. I hope to awaken in the viewer a sense of compassion . . . without compassion there is nothing.” —Luis Cruz Azaceta Bodies and Souls examines the liberatory power of figurative art. Though often treated as conservative in the second half of the 20th century, artists used representational and realist methods to assert presence for those omitted from dominant narratives or harmfully depicted by those outside their communities. Realism and representation remain powerful means to show embodied human