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DTSTART;TZID=America/New_York:20260419T090000
DTEND;TZID=America/New_York:20260419T160000
DTSTAMP:20260419T161328
CREATED:20260409T021801Z
LAST-MODIFIED:20260409T021801Z
UID:10032164-1776589200-1776614400@gridphilly.com
SUMMARY:The Figure in Clay Workshop (In-Person) with Colleen O'Donnell
DESCRIPTION:Learn the techniques and tools of figure sculpture through demonstration and hands-on sculpting from a live model. This in-person workshop explores anatomy\, proportion\, gesture\, and design using the versatility of clay. Students will be encouraged to express themselves through both representational and abstract approaches. \nOpen to all levels and perfect for beginners. \nNote: Tuition includes a $35 model fee. \nWeekend Workshop (In-Person)\nInstructor: Colleen O’Donnell\nDate & Time: April 18 & 19\, Saturday & Sunday\, 9 AM – 4 PM \nFeatured Artwork by Colleen O’Donnell
URL:https://gridphilly.com/event/the-figure-in-clay-workshop-in-person-with-colleen-odonnell/2026-04-19/
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/The-Figure-in-Clay-Workshop-In-Person-with-Colleen-ODonnell.jpeg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260418T100000
DTEND;TZID=America/New_York:20260418T170000
DTSTAMP:20260419T161328
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031831-1776506400-1776531600@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/2026-04-18/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260418T090000
DTEND;TZID=America/New_York:20260418T160000
DTSTAMP:20260419T161328
CREATED:20260409T021801Z
LAST-MODIFIED:20260409T021801Z
UID:10032163-1776502800-1776528000@gridphilly.com
SUMMARY:The Figure in Clay Workshop (In-Person) with Colleen O'Donnell
DESCRIPTION:Learn the techniques and tools of figure sculpture through demonstration and hands-on sculpting from a live model. This in-person workshop explores anatomy\, proportion\, gesture\, and design using the versatility of clay. Students will be encouraged to express themselves through both representational and abstract approaches. \nOpen to all levels and perfect for beginners. \nNote: Tuition includes a $35 model fee. \nWeekend Workshop (In-Person)\nInstructor: Colleen O’Donnell\nDate & Time: April 18 & 19\, Saturday & Sunday\, 9 AM – 4 PM \nFeatured Artwork by Colleen O’Donnell
URL:https://gridphilly.com/event/the-figure-in-clay-workshop-in-person-with-colleen-odonnell/2026-04-18/
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/The-Figure-in-Clay-Workshop-In-Person-with-Colleen-ODonnell.jpeg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260417T100000
DTEND;TZID=America/New_York:20260417T170000
DTSTAMP:20260419T161328
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031489-1776420000-1776445200@gridphilly.com
SUMMARY:Kati Gegenheimer: We've Only Just Begun
DESCRIPTION: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. \nTo 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. \nRooted 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. Gegenheimer’s markmaking\, symbolism\, and vibrant use of color reclaim emblems of care and tenderness (hearts\, love notes\, hinges\, calendars\, keyholes\, to-do lists)\, and ponder how love is practiced over time rather than experienced in a singular instance. In an era driven by speed\, extraction\, and instant gratification\, the exhibition insists on return and continuity. \nGegenheimer’s paintings are devoted expressions of love\, luck\, and time\, drawing inspiration from art history\, architecture\, popular culture\, and craft. Her works embrace the decorative and diaristic\, each an altar to a fleeting moment. Reliant on color\, tempo\, and composition\, each of her paintings is a sign\, symbol\, and record all at once.
URL:https://gridphilly.com/event/kati-gegenheimer-weve-only-just-begun/2026-04-17/
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-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T180000
DTEND;TZID=America/New_York:20260416T190000
DTSTAMP:20260419T161328
CREATED:20260409T021948Z
LAST-MODIFIED:20260409T021948Z
UID:10032161-1776362400-1776366000@gridphilly.com
SUMMARY:Artists in Conversation: Craig Calderwood and Didier William
DESCRIPTION:Join guest curator Robert Cozzolino as he leads a conversation with two artists included in the exhibition Bodies & Souls. Craig Calderwood and Didier William have each reimagined figurative painting through hybrid materials and a meaningful use of patterns. Each explores gender\, sexuality and how bodies relate to culture in their work. Calderwood has three drawings and a work on fabric in the exhibition; two of William’s works are featured at PAFA and one will be on view at Woodmere.
URL:https://gridphilly.com/event/artists-in-conversation-craig-calderwood-and-didier-william/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
CATEGORIES:Art Exhibitions
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/Artists-in-Conversation.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T100000
DTEND;TZID=America/New_York:20260416T170000
DTSTAMP:20260419T161328
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031829-1776333600-1776358800@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/2026-04-16/
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
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T100000
DTEND;TZID=America/New_York:20260416T170000
DTSTAMP:20260419T161328
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031488-1776333600-1776358800@gridphilly.com
SUMMARY:Kati Gegenheimer: We've Only Just Begun
DESCRIPTION: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. \nTo 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. \nRooted 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. Gegenheimer’s markmaking\, symbolism\, and vibrant use of color reclaim emblems of care and tenderness (hearts\, love notes\, hinges\, calendars\, keyholes\, to-do lists)\, and ponder how love is practiced over time rather than experienced in a singular instance. In an era driven by speed\, extraction\, and instant gratification\, the exhibition insists on return and continuity. \nGegenheimer’s paintings are devoted expressions of love\, luck\, and time\, drawing inspiration from art history\, architecture\, popular culture\, and craft. Her works embrace the decorative and diaristic\, each an altar to a fleeting moment. Reliant on color\, tempo\, and composition\, each of her paintings is a sign\, symbol\, and record all at once.
URL:https://gridphilly.com/event/kati-gegenheimer-weve-only-just-begun/2026-04-16/
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-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260416T100000
DTEND;TZID=America/New_York:20260416T170000
DTSTAMP:20260419T161328
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031161-1776333600-1776358800@gridphilly.com
SUMMARY:Bodies and Souls
DESCRIPTION:“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.”\n—Luis Cruz Azaceta \nBodies 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 experience\, encompassing gender\, sexuality\, interpersonal relationships\, psychological states\, and connections to home. \nThese methods can help us imagine the world we want to live in. Representational art has been critical for artists who want to make themselves and their communities visible on their own terms. It provides the agency to see and be seen\, to show relationships\, pleasure\, and autonomy. Representing ourselves is a powerful means of celebrating our full humanity. \nThis is the throughline of an eclectic collection formed by Philadelphians Robert and Frances Coulborn Kohler. Bodies and Souls celebrates their devotion to artists and immense generosity towards PAFA. Featuring over 120 works given and promised to the museum\, the exhibition will examine prominent themes in the collection\, integrating artists who are often seen independently or as part of regional communities. \nBodies and Souls is presented concurrently with an exhibition of the same title featuring the Kohlers’ personal collection at Woodmere\, Charles Knox Smith Hall\, 9201 Germantown Ave. Bodies & Souls – Woodmere. \nFeatured Artwork: Rafael Ferrer (born 1933) El Bolero\, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer\, courtesy of the artist \nThe exhibition will include works by Robert Arneson\, Luis Cruz Azaceta\, Joan Brown\, Roy DeForest\, Rafael Ferrer\, Viola Frey\, Gregory Gillespie\, Juan Gonzalez\, Red Grooms\, Anne Minich\, Gladys Nilsson\, Ed Paschke\, Christina Ramberg\, Winfred Rembert\, Tabitha Vevers\, John Wilde\, Didier William\, Karl Wirsum\, and many others.
URL:https://gridphilly.com/event/bodies-and-souls/2026-04-16/
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.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260414T193000
DTEND;TZID=America/New_York:20260414T210000
DTSTAMP:20260419T161328
CREATED:20260329T232425Z
LAST-MODIFIED:20260329T232741Z
UID:10030616-1776195000-1776200400@gridphilly.com
SUMMARY:Uncle Bobbie's X Ericka Hart: Nasty Work Book Tour
DESCRIPTION:Black queer non-binary femme activist and award-winning sexuality educator\, Ericka Hart joins us for the release of her book\, “Nasty Work”.\n\n\n“Free your mind / And the rest will follow…” – En Vogue \nWe are so excited to welcome Black queer femme activist\, writer and award-winning sexuality educator\, Ericka Hart for the release of her new book\, Nasty Work. \nEricka will be in conversation with organizer\, advocate and the Deputy Executive Director for Strategy & Culture at the ACLU\, AJ Hikes. \nGet ready for a powerful discussion around sex\, sexuality and gender and how we can liberate our world\, just as well as our bodies and minds\, from harmful rhetoric\, systems and traditions to experience a new kind of pleasure. \nQ&A will follow the discussion. \nAll copies of Nasty Work will be signed. \nYou’re also in for a real treat. Your ticket will also grant you access to PAFA’s incredible museum and you can experience their captivating Bodies & Souls exhibit. \nYou will regret missing out! \n—– \nAbout the author: \nEricka Hart\, M.Ed. (she/they) has been teaching comprehensive\, trauma informed\, consent and pleasure-based sex-ed at the elementary\, high school\, undergraduate and graduate level for the past 15 years and is now the founder of her own sexuality education training program\, Sex Ed as Resistance. She is the co-host of the critically acclaimed podcast\, Hoodrat to Headwrap with her partner Ebony and mom to East Francis Coltrane (and cockapoo Baguette). \n \nAbout the moderator: \nAJ Hikes (they/them) is a social justice advocate\, community organizer\, TED Talk Speaker\, and unapologetically queer and Black. As Deputy Executive Director for Strategy & Culture\, AJ is chief counselor and principal partner to the Executive Director\, overseeing the critical functions of organizational strategic planning and priority setting nationwide\, while providing executive leadership across the ACLU. \n \nAbout the book: \nAn award-winning sexuality educator takes down society’s deeply entrenched colonial views on sex and gender throughout history in this accessible\, candid\, and revolutionary exploration of how we can—and should—reclaim our minds and bodies for a more pleasurable existence for all. \nWhen you think about sex ed\, your mind likely goes back to those uncomfortable school desks and the stifled laughs of your teenage years. But what we’ve been socialized to believe about sexuality actually hinders our own pleasure well into adulthood. Whether we know it or not\, even the most progressive among us are often using 400-year-old inherited thoughts and belief systems in the twenty-first century. Why are we still carrying forth these ancient values that have never served the vast majority? \nAs a Black\, queer\, non-binary\, disabled femme\, Ericka Hart believes that sex ed done right can actually be a tool for liberation. In Nasty Work\, she breaks down the ways that social implications keep us from experiencing pleasure\, particularly for marginalized communities across race\, gender\, sexuality\, and ability\, and how we can dismantle these oppressive myths. From examining what guides our attraction to others to the history of consent\, Ericka Hart takes the blinders off and reveals a more empowering view of sex and sexuality. \nNasty Work blends eye-opening research with powerful\, poignant personal narrative that disrupts everything you thought you knew about sex and society\, offering a liberatory framework that makes pleasure accessible for all. \n \n… \nDoors open at 6:30pm. \nStreet/garage parking available. Wheelchair accessible entrance available. \nAll ticket sales are final and non-refundable. \nBags larger than a handbag will not be permitted
URL:https://gridphilly.com/event/uncle-bobbies-x-ericka-hart-nasty-work-book-tour/
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/2026/03/fa168de649aa5d4500256dd7f946914b.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260413T100000
DTEND;TZID=America/New_York:20260413T170000
DTSTAMP:20260419T161328
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031487-1776074400-1776099600@gridphilly.com
SUMMARY:Kati Gegenheimer: We've Only Just Begun
DESCRIPTION: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. \nTo 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. \nRooted 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. Gegenheimer’s markmaking\, symbolism\, and vibrant use of color reclaim emblems of care and tenderness (hearts\, love notes\, hinges\, calendars\, keyholes\, to-do lists)\, and ponder how love is practiced over time rather than experienced in a singular instance. In an era driven by speed\, extraction\, and instant gratification\, the exhibition insists on return and continuity. \nGegenheimer’s paintings are devoted expressions of love\, luck\, and time\, drawing inspiration from art history\, architecture\, popular culture\, and craft. Her works embrace the decorative and diaristic\, each an altar to a fleeting moment. Reliant on color\, tempo\, and composition\, each of her paintings is a sign\, symbol\, and record all at once.
URL:https://gridphilly.com/event/kati-gegenheimer-weve-only-just-begun/2026-04-13/
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-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260413T100000
DTEND;TZID=America/New_York:20260413T170000
DTSTAMP:20260419T161328
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031160-1776074400-1776099600@gridphilly.com
SUMMARY:Bodies and Souls
DESCRIPTION:“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.”\n—Luis Cruz Azaceta \nBodies 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 experience\, encompassing gender\, sexuality\, interpersonal relationships\, psychological states\, and connections to home. \nThese methods can help us imagine the world we want to live in. Representational art has been critical for artists who want to make themselves and their communities visible on their own terms. It provides the agency to see and be seen\, to show relationships\, pleasure\, and autonomy. Representing ourselves is a powerful means of celebrating our full humanity. \nThis is the throughline of an eclectic collection formed by Philadelphians Robert and Frances Coulborn Kohler. Bodies and Souls celebrates their devotion to artists and immense generosity towards PAFA. Featuring over 120 works given and promised to the museum\, the exhibition will examine prominent themes in the collection\, integrating artists who are often seen independently or as part of regional communities. \nBodies and Souls is presented concurrently with an exhibition of the same title featuring the Kohlers’ personal collection at Woodmere\, Charles Knox Smith Hall\, 9201 Germantown Ave. Bodies & Souls – Woodmere. \nFeatured Artwork: Rafael Ferrer (born 1933) El Bolero\, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer\, courtesy of the artist \nThe exhibition will include works by Robert Arneson\, Luis Cruz Azaceta\, Joan Brown\, Roy DeForest\, Rafael Ferrer\, Viola Frey\, Gregory Gillespie\, Juan Gonzalez\, Red Grooms\, Anne Minich\, Gladys Nilsson\, Ed Paschke\, Christina Ramberg\, Winfred Rembert\, Tabitha Vevers\, John Wilde\, Didier William\, Karl Wirsum\, and many others.
URL:https://gridphilly.com/event/bodies-and-souls/2026-04-13/
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.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T130000
DTEND;TZID=America/New_York:20260412T140000
DTSTAMP:20260419T161328
CREATED:20260329T224524Z
LAST-MODIFIED:20260329T224524Z
UID:10030518-1775998800-1776002400@gridphilly.com
SUMMARY:Art as Medicine: The Clare Feldman Poliakoff Inaugural Lecture
DESCRIPTION:How does art heal? Can creativity transform healthcare? Join us for the inaugural Clare Feldman Poliakoff Lecture\, where medicine meets artistic expression in a groundbreaking conversation about accessibility\, empathy\, and the power of art to restore and inspire. \nIranian-American cardiologist and visual artist Dr. Nazanin Moghbeli delivers the keynote address\, drawing on her unique practice that transforms EKGs and diagnostic imagery into stunning works bridging Persian calligraphy and modern medicine. As Jefferson Health’s Artist-in-Residence\, Dr. Moghbeli pioneers the use of art to cultivate empathy among healthcare providers and prevent burnout—proving that creativity is not merely decorative\, but essential to healing. \nFollowing the keynote\, a distinguished panel explores how art creates inclusive\, therapeutic experiences across healthcare and community settings. Panelists include Dr. Moghbeli\, Megan Voeller (Director of Humanities at Thomas Jefferson University)\, and Julie Nolan (Recreation Therapy and Creative Arts Therapy\, Jefferson Moss-Magee Rehabilitation Hospital). \nThis inaugural event honors the Clare Feldman Poliakoff Endowment’s mission to celebrate art’s transformative power—launching on the public opening day of A Nation of Artists\, our landmark exhibition marking America’s 250th anniversary.
URL:https://gridphilly.com/event/art-as-medicine-the-clare-feldman-poliakoff-inaugural-lecture/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
CATEGORIES:Art Exhibitions,Discussion,Gallery,Lecture
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/03/139711-Art-as-Medicine-The-Clare-Feldman-Poliakoff-Inaugural-Lecture.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T100000
DTEND;TZID=America/New_York:20260412T170000
DTSTAMP:20260419T161328
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031828-1775988000-1776013200@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/2026-04-12/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T100000
DTEND;TZID=America/New_York:20260412T170000
DTSTAMP:20260419T161328
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031486-1775988000-1776013200@gridphilly.com
SUMMARY:Kati Gegenheimer: We've Only Just Begun
DESCRIPTION: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. \nTo 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. \nRooted 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. Gegenheimer’s markmaking\, symbolism\, and vibrant use of color reclaim emblems of care and tenderness (hearts\, love notes\, hinges\, calendars\, keyholes\, to-do lists)\, and ponder how love is practiced over time rather than experienced in a singular instance. In an era driven by speed\, extraction\, and instant gratification\, the exhibition insists on return and continuity. \nGegenheimer’s paintings are devoted expressions of love\, luck\, and time\, drawing inspiration from art history\, architecture\, popular culture\, and craft. Her works embrace the decorative and diaristic\, each an altar to a fleeting moment. Reliant on color\, tempo\, and composition\, each of her paintings is a sign\, symbol\, and record all at once.
URL:https://gridphilly.com/event/kati-gegenheimer-weve-only-just-begun/2026-04-12/
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-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260412T100000
DTEND;TZID=America/New_York:20260412T170000
DTSTAMP:20260419T161328
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031159-1775988000-1776013200@gridphilly.com
SUMMARY:Bodies and Souls
DESCRIPTION:“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.”\n—Luis Cruz Azaceta \nBodies 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 experience\, encompassing gender\, sexuality\, interpersonal relationships\, psychological states\, and connections to home. \nThese methods can help us imagine the world we want to live in. Representational art has been critical for artists who want to make themselves and their communities visible on their own terms. It provides the agency to see and be seen\, to show relationships\, pleasure\, and autonomy. Representing ourselves is a powerful means of celebrating our full humanity. \nThis is the throughline of an eclectic collection formed by Philadelphians Robert and Frances Coulborn Kohler. Bodies and Souls celebrates their devotion to artists and immense generosity towards PAFA. Featuring over 120 works given and promised to the museum\, the exhibition will examine prominent themes in the collection\, integrating artists who are often seen independently or as part of regional communities. \nBodies and Souls is presented concurrently with an exhibition of the same title featuring the Kohlers’ personal collection at Woodmere\, Charles Knox Smith Hall\, 9201 Germantown Ave. Bodies & Souls – Woodmere. \nFeatured Artwork: Rafael Ferrer (born 1933) El Bolero\, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer\, courtesy of the artist \nThe exhibition will include works by Robert Arneson\, Luis Cruz Azaceta\, Joan Brown\, Roy DeForest\, Rafael Ferrer\, Viola Frey\, Gregory Gillespie\, Juan Gonzalez\, Red Grooms\, Anne Minich\, Gladys Nilsson\, Ed Paschke\, Christina Ramberg\, Winfred Rembert\, Tabitha Vevers\, John Wilde\, Didier William\, Karl Wirsum\, and many others.
URL:https://gridphilly.com/event/bodies-and-souls/2026-04-12/
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.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260409T100000
DTEND;TZID=America/New_York:20260409T170000
DTSTAMP:20260419T161328
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031156-1775728800-1775754000@gridphilly.com
SUMMARY:Bodies and Souls
DESCRIPTION:“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.”\n—Luis Cruz Azaceta \nBodies 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 experience\, encompassing gender\, sexuality\, interpersonal relationships\, psychological states\, and connections to home. \nThese methods can help us imagine the world we want to live in. Representational art has been critical for artists who want to make themselves and their communities visible on their own terms. It provides the agency to see and be seen\, to show relationships\, pleasure\, and autonomy. Representing ourselves is a powerful means of celebrating our full humanity. \nThis is the throughline of an eclectic collection formed by Philadelphians Robert and Frances Coulborn Kohler. Bodies and Souls celebrates their devotion to artists and immense generosity towards PAFA. Featuring over 120 works given and promised to the museum\, the exhibition will examine prominent themes in the collection\, integrating artists who are often seen independently or as part of regional communities. \nBodies and Souls is presented concurrently with an exhibition of the same title featuring the Kohlers’ personal collection at Woodmere\, Charles Knox Smith Hall\, 9201 Germantown Ave. Bodies & Souls – Woodmere. \nFeatured Artwork: Rafael Ferrer (born 1933) El Bolero\, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer\, courtesy of the artist \nThe exhibition will include works by Robert Arneson\, Luis Cruz Azaceta\, Joan Brown\, Roy DeForest\, Rafael Ferrer\, Viola Frey\, Gregory Gillespie\, Juan Gonzalez\, Red Grooms\, Anne Minich\, Gladys Nilsson\, Ed Paschke\, Christina Ramberg\, Winfred Rembert\, Tabitha Vevers\, John Wilde\, Didier William\, Karl Wirsum\, and many others.
URL:https://gridphilly.com/event/bodies-and-souls/2026-04-09/
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.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260406T100000
DTEND;TZID=America/New_York:20260406T170000
DTSTAMP:20260419T161328
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031155-1775469600-1775494800@gridphilly.com
SUMMARY:Bodies and Souls
DESCRIPTION:“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.”\n—Luis Cruz Azaceta \nBodies 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 experience\, encompassing gender\, sexuality\, interpersonal relationships\, psychological states\, and connections to home. \nThese methods can help us imagine the world we want to live in. Representational art has been critical for artists who want to make themselves and their communities visible on their own terms. It provides the agency to see and be seen\, to show relationships\, pleasure\, and autonomy. Representing ourselves is a powerful means of celebrating our full humanity. \nThis is the throughline of an eclectic collection formed by Philadelphians Robert and Frances Coulborn Kohler. Bodies and Souls celebrates their devotion to artists and immense generosity towards PAFA. Featuring over 120 works given and promised to the museum\, the exhibition will examine prominent themes in the collection\, integrating artists who are often seen independently or as part of regional communities. \nBodies and Souls is presented concurrently with an exhibition of the same title featuring the Kohlers’ personal collection at Woodmere\, Charles Knox Smith Hall\, 9201 Germantown Ave. Bodies & Souls – Woodmere. \nFeatured Artwork: Rafael Ferrer (born 1933) El Bolero\, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer\, courtesy of the artist \nThe exhibition will include works by Robert Arneson\, Luis Cruz Azaceta\, Joan Brown\, Roy DeForest\, Rafael Ferrer\, Viola Frey\, Gregory Gillespie\, Juan Gonzalez\, Red Grooms\, Anne Minich\, Gladys Nilsson\, Ed Paschke\, Christina Ramberg\, Winfred Rembert\, Tabitha Vevers\, John Wilde\, Didier William\, Karl Wirsum\, and many others.
URL:https://gridphilly.com/event/bodies-and-souls/2026-04-06/
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.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260405T100000
DTEND;TZID=America/New_York:20260405T170000
DTSTAMP:20260419T161328
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031154-1775383200-1775408400@gridphilly.com
SUMMARY:Bodies and Souls
DESCRIPTION:“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.”\n—Luis Cruz Azaceta \nBodies 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 experience\, encompassing gender\, sexuality\, interpersonal relationships\, psychological states\, and connections to home. \nThese methods can help us imagine the world we want to live in. Representational art has been critical for artists who want to make themselves and their communities visible on their own terms. It provides the agency to see and be seen\, to show relationships\, pleasure\, and autonomy. Representing ourselves is a powerful means of celebrating our full humanity. \nThis is the throughline of an eclectic collection formed by Philadelphians Robert and Frances Coulborn Kohler. Bodies and Souls celebrates their devotion to artists and immense generosity towards PAFA. Featuring over 120 works given and promised to the museum\, the exhibition will examine prominent themes in the collection\, integrating artists who are often seen independently or as part of regional communities. \nBodies and Souls is presented concurrently with an exhibition of the same title featuring the Kohlers’ personal collection at Woodmere\, Charles Knox Smith Hall\, 9201 Germantown Ave. Bodies & Souls – Woodmere. \nFeatured Artwork: Rafael Ferrer (born 1933) El Bolero\, 1983–84. Oil on canvas; 60 × 72 in. © Rafael Ferrer\, courtesy of the artist \nThe exhibition will include works by Robert Arneson\, Luis Cruz Azaceta\, Joan Brown\, Roy DeForest\, Rafael Ferrer\, Viola Frey\, Gregory Gillespie\, Juan Gonzalez\, Red Grooms\, Anne Minich\, Gladys Nilsson\, Ed Paschke\, Christina Ramberg\, Winfred Rembert\, Tabitha Vevers\, John Wilde\, Didier William\, Karl Wirsum\, and many others.
URL:https://gridphilly.com/event/bodies-and-souls/2026-04-05/
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.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260404T130000
DTEND;TZID=America/New_York:20260404T140000
DTSTAMP:20260419T161328
CREATED:20260329T224912Z
LAST-MODIFIED:20260329T224912Z
UID:10030519-1775307600-1775311200@gridphilly.com
SUMMARY:Exhibition Tours: Bodies & Souls
DESCRIPTION:The Bodies and Souls tour explores the Kohler Collection’s eclectic and deeply human approach to figurative art\, following works collected by Philadelphia‑based collectors Robert and Frances Coulborn Kohler. Focusing on art made primarily in the second half of the twentieth century\, the tour examines how artists have used realism and representation as liberating tools to explore embodied experience\, including gender\, sexuality\, interpersonal relationships\, psychological states\, and connections to home and community. \nBeginning in the 1980s\, the Kohlers committed themselves to collecting works by living artists who employed representational and realist methodologies at a time when figuration was often dismissed as conservative. Bodies and Souls challenges that assumption\, demonstrating how these artists used figuration to claim visibility\, agency\, and autonomy on their own terms. Featuring more than 120 works given and promised to PAFA\, the exhibition places artists from diverse communities and geographic regions into dialogue\, celebrating the power of representation to affirm kinship\, pleasure\, resilience\, and the fullness of human experience—while honoring the Kohlers’ extraordinary generosity and long‑standing devotion to artists. \nTickets Include: \nAll day museum admission\n20% off food & drinks at the PAFA Museum Store \nContent Warning: Bodies & Souls contains mature subject matter. Recommended for adult audiences; parental discretion is advised.
URL:https://gridphilly.com/event/exhibition-tours-bodies-souls/
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/2026/03/Exhibition-Tours-Bodies-Souls.jpeg
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20260401T120000
DTEND;TZID=America/New_York:20260401T130000
DTSTAMP:20260419T161328
CREATED:20260329T215227Z
LAST-MODIFIED:20260329T215227Z
UID:10030517-1775044800-1775048400@gridphilly.com
SUMMARY:A Nation of Artists Preview
DESCRIPTION:Get a first look at A Nation of Artists before it opens to the public. PAFA curators Lea C. Stephenson\, Kenneth R. Woodcock Curator of Historical American Art\, and Leah Triplett\, Curator of Contemporary Art\, come together for an intimate preview conversation exploring the surprising stories\, overlooked artists\, and bold curatorial choices behind this landmark exhibition marking America’s 250th anniversary. \nWhat makes A Nation of Artists different from traditional American art surveys? How do you tell 250 years of American creativity—from colonial painters to contemporary innovators—in a way that honors complexity and challenges long-held assumptions? Stephenson and Triplett offer a behind-the-scenes look at how they reimagined the canon\, centered marginalized voices\, and created dynamic dialogues between historical and contemporary works to expand our understanding of what it has always meant to be an American artist. \nThis lunchtime program is part of PAFA’s Art at Noon: A Nation of Artists Series\, a monthly conversation series that dives deep into the themes\, artworks\, and artists featured in the exhibition. \nJoin us at PAFA on April 1\, 2026 — and be part of the conversation shaping Philadelphia’s cultural future. \nThis program is offered in a hybrid format—attend in person at PAFA or watch the live stream on YouTube. A link to the livestream will be emailed to all registrants by 11:30 AM on the day of the event. \nThis event is Pay What You Wish meaning there’s no fixed admission. Your contribution helps us create meaningful programs\, inspire new ideas\, and educate our community through the arts. Every gift supports the work we do and the artists who make it possible. \nFeatured Artwork: Charles Willson Peale\, The Artist in His Museum\, 1822. Oil on canvas\, 103 3/4 × 79 7/8 in. Pennsylvania Academy of the Fine Arts\, 1878.1.2. Gift of Mrs. Sarah Harrison (The Joseph Harrison\, Jr. Collection).
URL:https://gridphilly.com/event/a-nation-of-artists-preview/
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/2026/03/A-Nation-of-Artists-Preview.jpeg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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