Contemporary Gallery Reinstallation
The newly reinstalled galleries invite visitors to join exciting fresh conversations among works in the museum’s contemporary collection. The galleries will feature longtime favorites—among them Andy Warhol’s Marilyn x 100 (1962) and Anselm Kiefer’s Lot’s Wife (1989)—alongside more recent additions. Some highlights are Robert Colescott’s Tea For Two (the Collector) (1980), Simone Leigh’s Las Meninas (2019), Teresa Margolles’s El Manto Negro (2020), and a selection of foundational video artworks. Together, these works demonstrate the wide range of perspectives that animate contemporary art.
Visitors will encounter contemporary re-imaginings of portraiture and representations of the body. They will discover recent takes on abstraction, and innovative adaptations of materials, from video to clay. Artistic process itself is reconceived in the works on view: to make To Die Upon a Kiss (2011), artist Fred Wilson collaborated with master artisans from the Murano glass factories in Venice, creating a chandelier that reflects histories of race and global migration. Spanning the last six decades, the contemporary reinstallation carries forward in time stories whose beginnings are told throughout the CMA’s historic collection.
Major support is provided by the Sandy and Sally Cutler Strategic Opportunities Fund.
