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SUMMARY:FRED WILSON: THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom
DESCRIPTION:THE MASTER PLAN or In Between the Big Bang and Modern Art Is the Restroom is a suite of twenty-two photogravures commissioned in 2004 by the Brodsky Center at PAFA and completed in 2009. They are on view for the first time at PAFA in the Works on Paper Gallery of the Historic Landmark Building\, for one year\, in conjunction with the exhibition A Nation of Artists. \nAs an artist living and working in New York City\, I had to support myself one way or another. Working simultaneously in the educational department of the Metropolitan Museum of Art\, the American Museum of Natural History\, and the American Crafts Museum made me wonder about how the environment in which cultural production is placed affects the way the viewer feels about the artwork and the artist who made these things. \n—Fred Wilson \nThe prints reproduce floor outlines from visitor orientation maps of eighteen major art\, cultural\, and natural history museums in North America and Europe. The succession of diagrammatic images\, precisely etched in off-white and black inks\, encourage viewers to revisit memories of time spent in museums and recapture the sense of adventure sparked by picking up a map. \nAs one of the most influential American artists of this century\, Fred Wilson has set in motion a profound transformation prompting museums to reconsider how they engage viewers’ learning experiences through art and artifacts. Two hundred and fifty years after Charles Willson Peale (1741–1827) established the American museum at the nation’s birth as the destination for educational advancement—commemorated in his painting The Artist in His Museum (1822)\, on view in the rotunda—Wilson examines the consequential role museums have played since. \nWilson’s conceptual inquiry challenges museums as neutral repositories of knowledge. His groundbreaking 1992 installation at the Maryland Historical Society\, Mining the Museum\, exhumed omitted histories of colonized and enslaved people and shifted attention to the authority embedded in institutional architecture\, furniture\, labels\, and registration systems through his creative retooling of the display apparatus. His subsequent work in glass\, sculpture\, painting\, drawing\, and print addresses the cross-continental history central to the Black experience\, including themes of race\, diaspora\, liberation\, and mourning.
URL:https://gridphilly.com/event/fred-wilson-the-master-plan-or-in-between-the-big-bang-and-modern-art-is-the-restroom/2026-12-17/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
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DTSTART;TZID=America/New_York:20261218T100000
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DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031664-1797588000-1797613200@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/2026-12-18/
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-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
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DTSTART;TZID=America/New_York:20261219T100000
DTEND;TZID=America/New_York:20261219T170000
DTSTAMP:20260419T184925
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031971-1797674400-1797699600@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/2026-12-19/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
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DTSTART;TZID=America/New_York:20261220T100000
DTEND;TZID=America/New_York:20261220T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031339-1797760800-1797786000@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/2026-12-20/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261220T100000
DTEND;TZID=America/New_York:20261220T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031666-1797760800-1797786000@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/2026-12-20/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261221T100000
DTEND;TZID=America/New_York:20261221T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031340-1797847200-1797872400@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/2026-12-21/
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:20261221T100000
DTEND;TZID=America/New_York:20261221T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031667-1797847200-1797872400@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/2026-12-21/
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:20261224T100000
DTEND;TZID=America/New_York:20261224T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031341-1798106400-1798131600@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/2026-12-24/
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:20261224T100000
DTEND;TZID=America/New_York:20261224T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031668-1798106400-1798131600@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/2026-12-24/
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:20261224T100000
DTEND;TZID=America/New_York:20261224T170000
DTSTAMP:20260419T184925
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031973-1798106400-1798131600@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/2026-12-24/
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:20261225T100000
DTEND;TZID=America/New_York:20261225T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031669-1798192800-1798218000@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/2026-12-25/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261226T100000
DTEND;TZID=America/New_York:20261226T170000
DTSTAMP:20260419T184925
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031975-1798279200-1798304400@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/2026-12-26/
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:20261227T100000
DTEND;TZID=America/New_York:20261227T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031344-1798365600-1798390800@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/2026-12-27/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261227T100000
DTEND;TZID=America/New_York:20261227T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031671-1798365600-1798390800@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/2026-12-27/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20261228T100000
DTEND;TZID=America/New_York:20261228T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031345-1798452000-1798477200@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/2026-12-28/
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:20261228T100000
DTEND;TZID=America/New_York:20261228T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031672-1798452000-1798477200@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/2026-12-28/
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:20261231T100000
DTEND;TZID=America/New_York:20261231T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031346-1798711200-1798736400@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/2026-12-31/
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:20261231T100000
DTEND;TZID=America/New_York:20261231T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031673-1798711200-1798736400@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/2026-12-31/
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:20261231T100000
DTEND;TZID=America/New_York:20261231T170000
DTSTAMP:20260419T184925
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031977-1798711200-1798736400@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/2026-12-31/
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:20270101T100000
DTEND;TZID=America/New_York:20270101T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031674-1798797600-1798822800@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/2027-01-01/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20270102T100000
DTEND;TZID=America/New_York:20270102T170000
DTSTAMP:20260419T184925
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031979-1798884000-1798909200@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/2027-01-02/
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:20270103T100000
DTEND;TZID=America/New_York:20270103T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031349-1798970400-1798995600@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/2027-01-03/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20270103T100000
DTEND;TZID=America/New_York:20270103T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031676-1798970400-1798995600@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/2027-01-03/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20270104T100000
DTEND;TZID=America/New_York:20270104T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031350-1799056800-1799082000@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/2027-01-04/
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:20270104T100000
DTEND;TZID=America/New_York:20270104T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031677-1799056800-1799082000@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/2027-01-04/
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:20270107T100000
DTEND;TZID=America/New_York:20270107T170000
DTSTAMP:20260419T184925
CREATED:20260407T190629Z
LAST-MODIFIED:20260407T190629Z
UID:10031351-1799316000-1799341200@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/2027-01-07/
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:20270107T100000
DTEND;TZID=America/New_York:20270107T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031678-1799316000-1799341200@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/2027-01-07/
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:20270107T100000
DTEND;TZID=America/New_York:20270107T170000
DTSTAMP:20260419T184925
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031981-1799316000-1799341200@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/2027-01-07/
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:20270108T100000
DTEND;TZID=America/New_York:20270108T170000
DTSTAMP:20260419T184925
CREATED:20260407T190822Z
LAST-MODIFIED:20260407T190822Z
UID:10031679-1799402400-1799427600@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/2027-01-08/
LOCATION:Pennsylvania Academy of the Fine Arts\, 118-128 North Broad Street\, Philadelphia\, PA\, 19102\, United States
ATTACH;FMTTYPE=image/jpeg:https://gridphilly.com/wp-content/uploads/2026/04/banner-1.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20270109T100000
DTEND;TZID=America/New_York:20270109T170000
DTSTAMP:20260419T184925
CREATED:20260409T021546Z
LAST-MODIFIED:20260418T183529Z
UID:10031983-1799488800-1799514000@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/2027-01-09/
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-2.jpg
ORGANIZER;CN="Pennsylvania Academy of the Fine Arts":MAILTO:info@pafa.org
END:VEVENT
END:VCALENDAR