Fleming Museum of Art

Art / Text / Context

February 7 – May 20, 2023

This exhibition explores the significance of text and context to the processes of making, interpreting, and displaying art. Bringing together art objects that prominently feature words, images, symbols, and gestural or abstract marks, Art/Text/Context: From Artistic Practice to Meaning Making considers the power of these artworks to prompt critical reflection and, in some cases, also to spur social action.

Art/Text/Context presents objects from the Fleming’s collection and on loan that span a variety of media and forms. The works include posters, textile art, prints, collages, clothing, and photographs, as well as a painting and a page from an herbal. In many of them, artists use text-based and culture- and context-specific strategies to communicate ideas in ways both visually evocative and thought provoking. In all the works, though, artists engage with topics that are relevant to our shared histories and present moment.

To bring these engagements with important topics into sharper focus, Art/Text/Context displays objects in a thematic arrangement. Groups and juxtapositions of artworks provide opportunities for visitors to explore thematic threads, such as social activism, gender and racial equality, environmental justice, and ways of knowing. At the same time, these constellations of objects invite visitors to reflect critically on the use of label text as a means of interpreting art within the museum context.

And Art/Text/Context responds to the UVM School of the Arts’ programming theme for the spring 2023 semester: Ars Poetica (art of poetry). Resonant with that theme, the Fleming’s exhibition provides a dynamic space for supporting cross-disciplinary inquiry into the relationship of art and figurative language.

In partnership with UVM’s School of the Arts, the Fleming Museum and other campus entities will participate in an engaging, two-day symposium—Friday-Saturday 3/31-4/1—celebrating Ars Poetica.

Events and programs are scheduled to include poetry readings, tours at the Fleming Museum and the Silver Special Collections Library, faculty panel discussions, Lane Series concerts, and more. Visit our events and programs page to learn more.

John Willis’ “A Reservation Response to the Presidential Campaign of 2004, Pine Ridge Reservation SD,” 2004

John Willis (American, b. 1957), A Reservation Response to the Presidential Campaign of 2004, Pine Ridge Reservation SD, 2004 (Detail), from the series Views from the Reservation. Gelatin silver print. Gift of Bill Press and Elana Auerbach 2020.11.10

Raúl Milián’s “Composition,” mid-to-late 20th century

Raúl Milián (Cuban, 1914-1984), Composition, mid-to-late 20th cent. (Detail). Paper, water-based inks. Gift of the Pan American Union 1956.32.2

Lenore Tawney’s “Nest of Oracles,” 1967

Lenore Tawney (American, 1907-2007), Nest of Oracles, 1967. Rope, parchment, antique writings. Gift of Elsa and Julian Waller 2020.16.2 © Lenore G. Tawney Foundation

Collections Rotations | Spring 2023

By Staff

Changes are afoot at the Fleming. We are currently re-envisioning the Collections Gallery (formerly the European/American Gallery). In areas freshly painted gray or blue, you’ll find a new selection of artworks installed among some objects from the prior display. This ongoing reinstallation project expands possibilities for connecting with the collection in new and exciting ways.

Our re-envisioning of the Collections Gallery has its roots in Fleming Reimagined. As a living vision statement, Fleming Reimagined documents the Museum’s ongoing efforts to become an anti-racist museum that is more responsive, relevant, and inclusive. And, as an emergent initiative, it provides pathways to integrate inclusive methods into museum practice.

In keeping with these values, the present changes to the Collections Gallery short-circuit the dominant narrative of art history once told here. That narrative has privileged a single perspective (white non-disabled heteromasculine) in and on art to the detriment of all, especially those identifying as BIPOC and LGBTQ+. Now, instead, you’ll find more and more objects that amplify diverse perspectives.

Several artworks that amplify queer perspectives, for example, are now prominently displayed. Robert Indiana’s A Garden of Love, a set of six prints, from 1982, uses verbal and visual means to communicate an inclusive message of love. And Marcelino Gonçalves’ painting Composition with Pairs, from 2007, engages with themes of same-sex love, gay desire, and masculinity.

Like a lab, the Collections Gallery is also a space for experimenting with museum practice by more frequently rotating artworks. Such rotations will, we hope, provide many new avenues for reimagining the Museum, as it is today, and what it might become in the future.

Marcelino Gonçalves’ “Composition with Pairs,” 2007

Marcelino Gonçalves (American, b. 1969), Composition with Pairs, 2007. Oil and graphite on panel. Gift of the David Beitzel ’80 Private Collection 2022.4.1

“Sedum Arborescens” from “Hortus Eystettensis (The Garden at Eichstätt),” 1613

Sedum Arborescens from Hortus Eystettensis (The Garden at Eichstätt), 1613. Published by Basilius Besler (German, 1561-1629). Hand-colored engraving. Museum purchase 1972.8.9

Unknown maker(s), “Raffia flower corsage,” early to mid-20th century

Unknown maker(s), Raffia flower corsage, early to mid-20th cent. Raffia, dyed and woven. Museum Collection 2006.3.281 LA

Heart-Shaped Puzzle Purse, ca. 1840s-1850s

England or United States, Heart-Shaped Puzzle Purse, ca. 1840s-1850s. Paper, ribbon. Gift of Mrs. Gertrude B. Spaulding 1938.40.39

Asia or Southeast Asia, Ornament or Necklace, before 1895

Unknown maker(s), attributed to Shuar or Achuar people, Ecuador, Hair or Ear Ornament, before 1895. Cord, feathers, beetle elytra (hard-shelled outer wings), hair. Gift of Henry LeGrand Cannon 1898.1.310

The Montier Portraits

By Staff

September 13 – December 9, 2022

The Fleming Museum is pleased to announce the loan of an extremely rare pair of portraits of African-American sitters whose heritage can be traced back to the Philadelphia’s first mayor, Humphrey Morrey (b. c. 1650, England; d. 1716, Philadelphia), appointed to his office by William Penn in 1691.

Painted in 1841, the portraits depict Hiram Charles Montier (1818–1905), who was a bootmaker in Philadelphia, and his wife Elizabeth Brown Montier (1820–ca. 1858). The portraits are on loan to the Museum by their descendants, the family of the late William Pickens III, who was a graduate of UVM and a supporter of the Fleming Museum of Art.

Pickens came to the University of Vermont in 1954. His grandfather was one of the founders of the NAACP and his entire family was highly engaged in American politics and racial justice activism. At UVM, Pickens continued that tradition by becoming involved in campus causes, protesting the “Kake Walk,” and serving, from 1957 until 1958, as the first African American president of the Student Association (now the Student Government Association). Following UVM, where he studied history and political science, Pickens went on to a career as a business executive at Marine Midland Bank and Philip Morris. He has also served on many non-profit boards and received an honorary degree from UVM in 2009. Recently, he donated a major collection of books on African American history, literature, the Civil Rights movement, and Black life to Silver Special Collections in Billings Library.

Franklin R. Street’s “Portrait of Hiram Charles Montier,” 1841

Franklin R. Street, "Portrait of Hiram Charles Montier," 1841.

Franklin R. Street (1815/16-before 1894), Portrait of Hiram Charles Montier, 1841. Oil on canvas. Collection of the Estate of Mr. and Mrs. William Pickens III

Franklin R. Street’s “Portrait of Elizabeth Brown Montier,” 1841

Franklin R. Street, "Portrait of Elizabeth Brown Montier," 1841.

Franklin R. Street (1815/16-before 1894), Portrait of Elizabeth Brown Montier, 1841. Oil on canvas. Collection of the Estate of Mr. and Mrs. William Pickens III

Call and Response: Personal Reflections on the Fleming Collection

By Staff

September 13 – December 9, 2022

In a unique debut collaboration between the Howard Center Arts Collective and the Fleming Museum, Arts Collective artists have created work inspired by a piece from the museum collections. Each of the 16 exhibiting members used the museum’s online collections database to identify artwork of personal interest, from which they drew upon to create something new.

The Howard Center Arts Collective is an alternative arts program that promotes wellness, self-esteem, and dignity by ensuring that there are opportunities for artists who have experience with mental illness and/or substance use challenges to connect, create, and exhibit work. The Arts Collective is open to adult artists who have lived experience with mental illness and/or substance use challenges, via their own personal lived experience, experience with family members or friends, or through their work

In April, Fleming staff retrieved the selected pieces from museum storage and invited Howard Center Arts Collective members to view the artworks in person. Each artist spent time with their selection and was able to sketch, photograph, and view the piece from all angles. One artist chose an early hand-drawn map of the state of Vermont. Another selected a black and white ink wash of doctors huddled around a small child on a gurney.

Each artist had their own process and reasons for selecting their chosen artwork from the Fleming’s over 24,000 works collection. Over the past several months, they each created their own original works in response to those selections, hence the title, Call and Response. Some artists choose to emulate the piece they chose using a different medium, style, or color palette. Others have taken their piece in a completely different direction, drawing on their Fleming selection only loosely for inspiration.

Some of the new works of art will be installed side by side with the archival pieces that inspired them, along with a 4-minute video documentary of the unique, collaborative process that brought this show to light.

Eryn Sheehan’s “The Cricket House,” 2022

Eryn Sheehan, The Cricket House, 2022. Mixed media. Courtesy of the Artist

Amjed Jumaa’s “Saint Man of Peace,” 2022

Amjed Jumaa, Saint Man of Peace, 2022 (detail). Acrylic on canvas. Couretsy of the artist.

Luke Carlson’s “Cat in a Mailbox on a Countertop,” 2022

Luke Carlson, Cat in a Mailbox on a Countertop, 2022. Oil on canvas. Courtesy of the artist.

Rockwell Kent: Prints from the Ralf C. Nemec Collection

By Staff

September 13 – December 9, 2022

Rockwell Kent (1882-1971) was an author, illustrator, painter, and printmaker whose iconic graphic style decorated posters, magazine covers, advertisements, fine art publishing ventures, deluxe illustrated books, and personal bookplates. This exhibition features 49 prints drawn from the collection of Ralf C. Nemec, the largest assemblage of Rockwell Kent prints in the world.

Kent believed that printmaking was an inherently democratic art form that made art collecting accessible to many, instead of creating scarcity with a single drawing or painting. He participated in collaborative ventures to produce limited edition prints that could be distributed through print clubs, portfolios, and other publishing ventures. He devoted himself to every design aspect of book illustration projects for accessible collector’s editions of Moby-Dick, Candide, and Beowulf, among many others. In these various projects made for different audiences, he found inventive ways of adapting his distinctive black-and-white aesthetic to create iconic scenes: lone figures illuminated against rugged landscapes or starlit seascapes.

Kent’s prints are guides to mid-20th century historical social and political events across the world. He traveled to Alaska, Greenland, Tierra del Fuego, and other distant islands. He advocated for workers in labor strikes during the 1930s. Like many artists, he used popular media to record his reactions to the Spanish Civil War and World War II. In these endeavors, he tested out the idea that printmaking was a democratic art for disseminating messages through the power of art.

Kent had numerous connections to Vermont and New York. To accompany these prints, the Fleming will show a number of Vermont printmakers who were Kent’s contemporaries—and colleagues. Their prints from the Works Progress Administration, Associated American Artists, and other artist-led endeavors how those democratic ideals of the woodcut, wood engraving, and lithographic media inspired people to participate in increasing access to art collecting.

The exhibition was organized by Landau Traveling Exhibitions of Los Angeles, CA.

Rockwell Kent’s “Blue Bird,” 1919

Rockwell Kent (American, 1882-1971), Blue Bird, 1919. Wood engraving on maple. Collection of Ralf C. Nemec

Rockwell Kent’s “Beowulf: Beowulf and the Dragon,” 1931

Rockwell Kent (American, 1882-1971), Beowulf: Beowulf and the Dragon, 1931. Lithograph on stone. Collection of Ralf C. Nemec

Rockwell Kent’s “Oarsman,” 1931

Rockwell Kent (American, 1882-1971), Oarsman, 1931. Wood engraving on maple. Collection of Ralf C. Nemec

Dark Goddess: An Exploration of the Sacred Feminine

By Staff

February 8, 2022 through May 20, 2023

Dark Goddess: An Exploration of the Sacred Feminine, an exhibition of Shanta Lee Gander’s photo series of the same name, has been six years in the making. The series started off as an initial idea and inquiry: Who or what is the Goddess when she is allowed to misbehave? Who is the Goddess when she is allowed to expand beyond bearer of life, nurturer, and all of the other boxes that we confine women to within our society?

Dark Goddess is a mix of ethnography, cultural anthropology, an exploration of the sacred feminine, and a co-creation with each of the individuals featured. Shanta Lee writes that beginning to share the work through exhibition has helped her to sharpen her sense of the purpose of exhibitions in general. “Bringing Dark Goddess to others has been an ongoing inquiry and invitation outside of my comfort zone,” she shared.

Dark Goddess inspires us to reconsider what has been meant by “the male gaze,” a term coined in 1975 by Laura Mulvey and an insight shared in the book Ways of Seeing by John Berger. Does Dark Goddess challenge the underlying idea that all of the ways that we see are inherently male?

“While amazing breakthroughs at the time, I think that these theories are binary and within our current context, we must think of the ways that the camera and the ways that those who have previously not been seen can engage with this technology in ways to cause powerful shifts. As it relates to my work, I hope that it inspires more inquiry, questions about the other selves that are several layers beneath the surface of a society that categorizes and boxes,” writes the artist.

The Museum’s European/American gallery features an extension of Gander’s Dark Goddess exhibition called Object-Defied. Complimenting and contrasting with her photographs hanging in the Marble Court, Gander reexamines objects from the Fleming’s collection through the gaze of the sacred feminine.

Support for this exhibition has been provided by the Kalkin Family Exhibitions Fund, Walter Cerf Exhibitions Fund, and the 1675 Foundation.

Dark Goddess: A Short Film

Directed, Written and Produced by Shanta Lee Gander
Sound Design and Music Production by Machafuko NA Vurugu Productions

In her exploration of the human gaze, the female body, and what it means to dance along a continuum of sacred and profane, Shanta Lee brings us further down the rabbit hole in this 15-minute short, Dark Goddess. In its combination of original and borrowed footage, this visual meditation is a kind of filmed version of Shanta Lee’s Confessions from a Dark Goddess: A Travelogue (available as a brochure at the introduction to the exhibition). Within each of the five sections of the film, we are invited to bear witness to the artist’s exploration of the sacred feminine across natural/cultural/personal landscapes and images transmitted through pop culture.

Shanta Lee Gander’s “HECATE,” 2020

Shanta Lee Gander, HECATE, 2020. Archival pigment print, 26 11/16 x 40 in. (67.7 x 101.6 cm). Courtesy of the artist.

Shanta Lee Gander’s “OBEAH’D (II),” 2021

Shanta Lee Gander, OBEAH’D (II), 2021. Archival pigment print, 26 11/16 x 40 in. (67.7 x 101.6 cm). Courtesy of the artist.

Shanta Lee Gander’s “SHE… KILLER OF BAD MEN (I),” 2020

Shanta Lee Gander, SHE… KILLER OF BAD MEN (I), 2020. Archival pigment print, 33 15/16 x 40 in. (86.1 x 101.6 cm). Courtesy of the artist.

UNPACKED: Refugee Baggage

By Staff

February 8 – May 6, 2022

UNPACKED: Refugee Baggage seeks to humanize the word “refugee.” Created during the summer of 2017, this multi-media installation is the work of Syrian-born, New Haven CT artist and architect Mohamad Hafez and Iraqi-born writer and speaker Ahmed Badr.

For UNPACKED: Refugee Baggage Hafez sculpturally re-creates rooms, homes, buildings and landscapes that have suffered the ravages of war. Each is embedded with the voices and stories of real people — from Afghanistan, Congo, Syria, Iraq and Sudan — who have escaped those same rooms and buildings to build a new life in America. Their stories are collected and curated by Badr, who is in graduate school at Harvard University and is himself an Iraqi refugee.

By giving these voices a tangible platform, Badr and Hafez invite the spectator to reexamine the word “refugee” and view it through a multidimensional lens. These are not merely stories of violence and war. These are stories of triumph and resilience.

Support for this exhibition has been provided by the Kalkin Family Exhibitions Fund, Walter Cerf Exhibitions Fund, and the 1675 Foundation

Short introductory video:

Mohamad Hafez’s “Um Shaham,” 2017

Mohamad Hafez, Um Shaham, 2017. Mixed media, Dimensions variable. Credit nelsonimaging.com

Mohamad Hafez’s “Ferreshteh,” 2017

Mohamad Hafez, Ferreshteh, 2017. Mixed media, Dimensions variable. Credit nelsonimaging.com

Mohamad Hafez’s “Amjad,” 2017

Mohamad Hafez, Amjad, 2017. Mixed media, Dimensions variable. Credit nelsonimaging.com

Introducing the Learning Studio

By Staff

September 14 – December 10, 2021

This fall, the Fleming Museum is “showing our work” by exhibiting itself in a state of transformation and change, with listening to visitors at the center of that work. It is messy and vulnerable to work in public. Learning how to improvise and adapt—haven’t we all done so much of that these past 18 months?

Yet artists have always found a rich vein in that radical openness to documenting experiments and showing work in process. These experiments lead to collaborations. They lead to reflection and storytelling about the ups and downs of the creative process. They lead to change. The Learning Studio is a space for creating conversations with art and artists who inspire us to embrace this opportunity for working and learning in public. The Fleming staff have begun recording our own inspirations to think about change with these artworks; we invite visitors to add to these conversations.

The Learning Studio is born of improvisation, as we adapted an exhibitions gallery into a socially-distanced place for classes to meet during the 2020-21 school year. That improvisation led to a realization about how much we wanted to adapt such a space for people to gather and look at art together, in classes, in intimate conversations, in creative programs. You will see the large learning space change every day, as different groups of people gather to talk about art and material culture from the Museum’s collection. Any conversation could spark more changes as we learn from our audiences about what the Museum can become.

Support for this installation is provided by the Kalkin Family Exhibitions Fund, the Walter Cerf Exhibitions Fund, and the Vermont Arts Council.

Elizabeth Murray’s “Shoe String:” A Recent Fleming Museum Acquisition

Fleming Museum of Art curator Andrea Rosen and University of Vermont associate professor of painting Steve Budington discuss American artist Elizabeth Murray’s 1993 three-dimensional lithograph, Shoe String. Purchased by the Museum in 2019, Murray’s print is being displayed for the first time in the Museum as part of The Fleming Reimagined series of installations.

Shahzia Sikander’s “Naga,” 2007

Shahzia Sikander (American, b. 1969 Pakistan), Naga, 2007 (detail). Photogravure and gold leaf. 29 ¾ x 22 7/8 inches. Museum Purchase, 2020.9

Manuel Ocampo’s “The Compensatory Motif in the Libidinal Economy of a Painter’s Bad Inconscience,” 2001

Manuel Ocampo (Filipino, b. 1965), The Compensatory Motif in the Libidinal Economy of a Painter’s Bad Inconscience, 2001 (detail). Lithograph with chine collé. 30 × 22 inches

Larry Rivers’ “Holly Woodlawn,” 1971

Larry Rivers (American 1923-2002), Holly Woodlawn, 1971 (detail) Graphite on paper. 6 3⁄4 x 8 1⁄4 inches. Bequest of J. Brooks Buxton. © 2021 Estate of Larry Rivers / Licensed by VAGA at Artists Rights Society (ARS), NY

Katia Santibañez and James Siena’s “Fourhand Choker,” 2018

Katia Santibañez (American, b. 1964 France) and James Siena (American, b. 1957), Fourhand Choker, 2018 (detail). Reduction woodcut in 7 colors. 16 x 12 inches, Edition of 22. Museum purchase, Way Fund, 2020.8

Storytelling Salon

By Staff

September 14, 2021 – May 6, 2022

Storytelling is a catalyst for change.

Our 2020 exhibition Reckonings: Fleming staff reflect on our collection and the current moment focused on how we can use art to tell stories about our feelings and experiences in reaction to worldwide trauma. “Reckoning” is a long-term and iterative process, particularly when it comes to overcoming centuries of racial oppression as represented on the Museum’s walls and in our collections. This gallery includes some works from Reckonings with new stories attached to them about what we have learned, and unlearned, over the last year.

We’ve also added new works that help us think about the power of storytelling to enact change. These works are just the beginning, a jumping-off point for that storytelling to expand beyond the Museum’s staff, to those who have rarely been heard here before. This is a space to gather ideas about what new kinds of stories can be told in the Museum, to prioritize sharing multiple perspectives, to de-center the Museum’s authority, and hold space for new voices.

Support for this installation is provided by the Kalkin Family Exhibitions Fund, the Walter Cerf Exhibitions Fund, and the Vermont Arts Council.

Romare Bearden’s “The Family,” 1975

Romare Bearden (American, 1911-1988), The Family, 1975 (detail). Color etching and aquatint on paper. 20 x 26 inches. © 2021 Romare Bearden Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY

William Villalongo’s “Embodied,” 2018

William Villalongo (American, b. 1975) Embodied, 2018 (detail). Laser cut felt with archival pigment print. Museum purchase, Way Fund, 2020.7. Published by Graphicstudio, University of South Florida, Tampa, FL. Photo: Will Lytch

Manuel Ocampo’s “The Compensatory Motif in the Libidinal Economy of a Painter’s Bad Inconscience,” 2001

Manuel Ocampo (Filipino, b. 1965), The Compensatory Motif in the Libidinal Economy of a Painter’s Bad Inconscience, 2001 (detail). Lithograph with chine collé. 30 × 22 inches

Abstracts: Opening Space for Imagination

By Staff

September 14 – December 10, 2021

Change has had a domino effect in the Museum this year. Deconstructing the outdated African Gallery led to a deinstallation of the Marble Court balcony, which has long featured nearly all-white New England artists and especially landscapes. Just as our Absences project uses blank spaces to envision new possibilities, the empty balcony allowed us to reconsider this longstanding tradition.

Likewise, abstract artworks make room for the imagination. What do you see? What do you interpret? What do you reimagine?

Support for this installation is provided by the Joan Kalkin Acquisitions Endowment

Francis R. Hewitt’s “More A’s Forever,” 1964

Francis R. Hewitt, "More A's Forever," 1964

Francis R. Hewitt (American, 1936 – 1992), More A’s Forever, 1964 (detail). Acrylic on canvas. Gift of Karen Hewitt. 1998.2.1

Letty Nakanarra’s “Hunting Dreaming”

Letty Nakanarra, Hunting Dreaming (detail). Acrylic on canvas. Gift of Sanborn Partridge. 1991.84.8

Mario Castillo’s “Ciclista”

Mario Castillo, Ciclista (detail). Oil on board. Museum purchase. 1971.14

Ross Neher’s “Idol,” 1989

Ross Neher, Idol, 1989 (detail). Oil on linen. Gift of Christian M. McGeachy 1995.2

Fitzgerald Tomkins’ “Abstract,” 1990

Fitzgerald Tomkins, Abstract, 1990 (detail). Oil on board. Bequest of Dorothy Baxter Prior. 1991.76.26

Posts

February 7 – May 20, 2023

John Willis’ “A Reservation Response to the Presidential Campaign of 2004, Pine Ridge Reservation SD,” 2004

Raúl Milián’s “Composition,” mid-to-late 20th century

Lenore Tawney’s “Nest of Oracles,” 1967

Marcelino Gonçalves’ “Composition with Pairs,” 2007

“Sedum Arborescens” from “Hortus Eystettensis (The Garden at Eichstätt),” 1613

Unknown maker(s), “Raffia flower corsage,” early to mid-20th century

Heart-Shaped Puzzle Purse, ca. 1840s-1850s

Asia or Southeast Asia, Ornament or Necklace, before 1895

September 13 – December 9, 2022

Franklin R. Street’s “Portrait of Hiram Charles Montier,” 1841

Franklin R. Street’s “Portrait of Elizabeth Brown Montier,” 1841

September 13 – December 9, 2022

Eryn Sheehan’s “The Cricket House,” 2022

Amjed Jumaa’s “Saint Man of Peace,” 2022

Luke Carlson’s “Cat in a Mailbox on a Countertop,” 2022

September 13 – December 9, 2022

Rockwell Kent’s “Blue Bird,” 1919

Rockwell Kent’s “Beowulf: Beowulf and the Dragon,” 1931

Rockwell Kent’s “Oarsman,” 1931

February 8, 2022 through May 20, 2023

Dark Goddess: A Short Film

Shanta Lee Gander’s “HECATE,” 2020

Shanta Lee Gander’s “OBEAH’D (II),” 2021

Shanta Lee Gander’s “SHE… KILLER OF BAD MEN (I),” 2020

February 8 – May 6, 2022

Short introductory video:

Mohamad Hafez’s “Um Shaham,” 2017

Mohamad Hafez’s “Ferreshteh,” 2017

Mohamad Hafez’s “Amjad,” 2017

September 14 – December 10, 2021

Elizabeth Murray’s “Shoe String:” A Recent Fleming Museum Acquisition

Shahzia Sikander’s “Naga,” 2007

Manuel Ocampo’s “The Compensatory Motif in the Libidinal Economy of a Painter’s Bad Inconscience,” 2001

Larry Rivers’ “Holly Woodlawn,” 1971

Katia Santibañez and James Siena’s “Fourhand Choker,” 2018

September 14, 2021 – May 6, 2022

Romare Bearden’s “The Family,” 1975

William Villalongo’s “Embodied,” 2018

Manuel Ocampo’s “The Compensatory Motif in the Libidinal Economy of a Painter’s Bad Inconscience,” 2001

September 14 – December 10, 2021

Francis R. Hewitt’s “More A’s Forever,” 1964

Letty Nakanarra’s “Hunting Dreaming”

Mario Castillo’s “Ciclista”

Ross Neher’s “Idol,” 1989

Fitzgerald Tomkins’ “Abstract,” 1990