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Jan 27-May 14, 2017 Zarouhie Abdalian and Joseph Rosenzweig Transport Empty Jan 27-May 14, 2017 ∆ Zarouhie Abdalian and Joseph Rosenzweig, Transport Empty , 2017, Single-channel sound installation, 60 minutes. Courtesy the artists and Altman Siegel Gallery. ∆ Zarouhie Abdalian and Joseph Rosenzweig, Transport Empty , 2017, Single-channel sound installation, 60 minutes. Courtesy the artists and Altman Siegel Gallery. ∆ Zarouhie Abdalian and Joseph Rosenzweig, Transport Empty , 2017, Single-channel sound installation, 60 minutes. Courtesy the artists and Altman Siegel Gallery. Jan 27-May 14, 2017 Zarouhie Abdalian and Joseph Rosenzweig Transport Empty Artists Zarouhie Abdalian (1982, New Orleans, LA) and Joseph Rosenzweig (1981, Pascagoula, MS) collaborate to create site specific sound installations and performances. Their projects combine an interest in the history of experimental music with an examination of the interplay between architecture and social encounters. Transport Empty (2017), a sound installation made specifically for MOCA’s Stair A, explores the state of wage labor in the global marketplace. The piece is comprised of a series of evocative field recordings, each made at a site where work is done for an hourly wage and paired with a matching period of silence. At each location — a commercial kitchen, a construction site, a machine shop — the sounds workers make reflect their specific activities to invoke familiar and yet unrecognizable scenes. These “aural shadows” excise specific moments from their context, reflecting the material conditions under which labor is performed. About the Artists Zarouhie Abdalian Zarouhie Abdalian (1982, New Orleans, LA) lives and works in New Orleans, LA. She creates subtle sculptural and aural interventions in public space, altering viewers’ perceptions of familiar environments. Rooted in the particularities of site and context, Abdalian’s work typically responds to the specific attributes of a given location, architectural setting, or social landscape. She was the subject of a solo exhibition MATRIX: Zarouhie Abdalian, Berkeley Art Museum and Pacific Film Archive, Berkeley, CA (2013). Recent group exhibitions include Prospect.3 Notes for Now, New Orleans, LA (2014); 8th Berlin Biennale, Berlin, Germany (2014); Nothing Beside Remains, Gertrude Contemporary, Melbourne, Australia (2014); Shanghai Biennial: Reactivation, Shanghai, China (2012); When Attitudes Became Form Become Attitudes, CCA Wattis Institute of Contemporary Arts, San Francisco, CA (2012); Moscow International Biennale for Young Art, Moscow, Russia (2012); Rendez-vous 12, South African National Gallery, Cape Town, South Africa (2012); and the Istanbul Biennial, Istanbul, Turkey (2011). Abdalian earned a BA from Tulane University, New Orleans, LA and an MFA from California College of the Arts, San Francisco, CA. Abdalian will be included in the forthcoming iteration of the Whitney Biennale, Summer 2017, Whitney Museum of American Art, New York. Joseph Andrew Rosenzweig Joseph Andrew Rosenzweig (1981, Pascagoula, MS) lives and works in New Orleans, LA. He is a composer, performer, curator, and artist. Rosenzweig primarily composes music for voice, percussion, and electronics. His work has been presented nationally as well as in international exhibitions, including the CAFAM Biennial, Beijing (2014) and the Moscow International Biennale for Young Art (2012). As a solo performer, he has performed widely in the San Francisco Bay Area, including The Luggage Store, the Mind Gaze Hut, and the San Francisco Community Music Center. In 2015, Rosenzweig co-curated Situational Music, a concert program hosted at The Exploratorium, San Francisco. He earned a BA from Tulane University, New Orleans, LA and an MFA in Electronic Music and Recording Media from Mills College, Oakland, CA.

Jan 27-May 14, 2017 Jeremy Deller Video Works Jan 27-May 14, 2017 ∆ Jeremy Deller, English Magic , 2013, HD Digital Video, 14 minutes 23 seconds, still, commissioned by the British Council for the British Pavilion, Venice Biennale 2013. Courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow. ∆ Jeremy Deller, English Magic , 2013, HD Digital Video, 14 minutes 23 seconds, still, commissioned by the British Council for the British Pavilion, Venice Biennale 2013. Courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow. ∆ Jeremy Deller, English Magic , 2013, HD Digital Video, 14 minutes 23 seconds, still, commissioned by the British Council for the British Pavilion, Venice Biennale 2013. Courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow. Jan 27-May 14, 2017 Jeremy Deller Video Works Turner prize-winning artist Jeremy Deller (1966, London, UK) has a powerful ability to connect the past and the present through the juxtaposition of imagery, objects, and music of all kinds with an uncommon levity. As a city grounded in its industrial and working class cultural identity, and with a strong relationship to the founding of Rock and Roll, Cleveland and its people resonate with many of Deller’s core interests. Jeremy Deller: Video Works brings together three iconic videos by Deller in a single looping program. Deller’s newest video work, Bom Bom’s Dream , is a collaboration with Argentinian performance artist Cecilia Bengolea. For nine months of the year ‘Bom Bom’ is a children’s book illustrator in Japan, but for the other three she is a professional dancer and lives in Jamaica. As a larger-than-life Chameleon narrates her journey through a surreal Jamaican dream-scape, Bom Bom takes us inside the complex and vibrant relationships between contemporary music and dance in Jamaican culture. English Magic (2013) explores British culture and history with an intertwining soundtrack of iconic British songs such as David Bowie’s “The Man Who Sold the World” played by a South London steel drum band and juxtaposed against imagery of mythic English heritage sites like Stonehenge, and later, crushed car sculptures of the country’s storied auto brand Land Rover. Promotional Film for All that is Solid Melts into Air similarly pairs a range of musical styles — from British heavy metal to electronica — with archival film footage of a British steel foundry, a textile factory, and home videos of local cultural events exploring how British society has been shaped by the rise and decline of industry. The film takes its name from a text by Marxist American philosopher Marshall Berman’s 1982 book that charts the conflicting relationship between Modernism and the modernization of labor. Throughout the film individuals read a variety of texts including poems, personal letters, philosophical texts, and song lyrics that explore social and economic changes in the last two centuries. Together, these three videos offer playful and captivating insights into the intertwined relationships between industrial and societal changes throughout the last two centuries. English Magic , Promotional Film for All that is Solid Melts into Air , and Bom Bom’s Dream bring Deller’s penchant for treating the expectedly mundane as occasions for serendipitous intervention. Jeremy Deller English Magic , 2013 Single-channel video, sound 14:23 minutes Jeremy Deller Promotional Film for All that is Solid Melts into Air , 2013 Single-channel video, sound 20:54 minutes Jeremy Deller and Cecilia Bengolea Bom Bom’s Dream , 2016 Single-channel video, sound 12:30 minutes All works are courtesy of the artist and The Modern Institute, Toby Webster Ltd, Glasgow Jeremy Deller: Video Works is curated by A. Will Brown, Assistant Curator. About the Artist Jeremy Deller Jeremy Deller (1966, London, UK) lives and works in London and is one of Britain’s most celebrated artists. In 2004 Deller was the recipient of the Turner Prize, he represented Britain in the 55th Venice Biennial in 2013, and was included in the 2007 Münster Sculpture Project, Münster. His work has been shown in numerous leading museums and biennials including: the 2016 and 2010 São Paolo Biennale, São Paolo; The Infinitely Variable Ideal of the Popular , University Museum of Contemporary Art, (MUAC), Mexico City (2015) which traveled to Azkuna Zentroa, Bilbao and Fundación Proa, Buenos Aires; Directions: Jeremy Deller , Hirshhorn Museum and Sculpture Garden, Washington D.C. (2014); English Magic , British Pavilion, Giardini de Castello, Venice Biennale, Venice (2013) which toured to the Mumbai Art Room, Mumbai, William Morris Gallery, London, Bristol Museum and Art Gallery, Bristol, and Turner Contemporary, Margate. Joy In People , Hayward Gallery, London (2012) which traveled to Wiels Centre for Contemporary Art, Brussels, Institute of Contemporary Art, Philadelphia, and Contemporary Art Museum, St. Louis; Manifesta 9 , Waterschei, Genk, Limburg, Belgium (2012); September 11 , MoMA PS1, New York (2011); It Is What It Is: Conversations About Iraq , The New Museum, New York (2009) which toured to the Hammer Museum, Los Angeles and Museum of Contemporary Art, Chicago; and Jeremy Deller , Kunstverein, Munich (2005). He studied at the Courtauld Institute of Art, London (1988) and the University of Sussex, Brighton (1992). Select Images

Jan 27-May 14, 2017 Adam Pendleton Becoming Imperceptible Jan 27-May 14, 2017 ∆ Installation view, Adam Pendleton: Becoming Imperceptible . Photo: Jerry Birchfield. ©MOCA Cleveland 2017. ∆ Installation view, Adam Pendleton: Becoming Imperceptible . Photo: Jerry Birchfield. ©MOCA Cleveland 2017. ∆ Installation view, Adam Pendleton: Becoming Imperceptible . Photo: Jerry Birchfield. ©MOCA Cleveland 2017. Jan 27-May 14, 2017 Adam Pendleton Becoming Imperceptible Adam Pendleton: Becoming Imperceptible is the largest solo presentation of the artist’s work to date. The title of the exhibition is derived from the writings of Gilles Deleuze and Felix Guattari, who assert that “to go unnoticed, is by no means easy,” and positions Pendleton’s practice as a form of counter-portraiture. The works on view explore visual and cultural framing practices to re-contextualize European, African, and American aesthetic and cultural movements from Minimalism and Dada to Black Lives Matter. The exhibition brings together works that exemplify the artist's diverse practice, including a large-scale vinyl wall work, Black Lives Matter #3 (wall work) (2015), two films, the 3-channel installation My Education: A Portrait of David Hilliard (2011–14) and a newly finished single-channel film JUST BACK FROM LOS ANGELES: A PORTRAIT OF YVONNE RAINER (2016), as well as floor-based abstract ceramic sculptures Code Poems (2016), and works from Pendleton's ongoing series of Black Dada paintings. Narrating the soundscape of the gallery, the 3-screen film installation My Education: A Portrait of David Hilliard offers an intimate depiction of Hilliard, an educator and the former founding Chief of Staff of the Black Panther Party. The film was shot in Oakland, CA as Pendleton accompanied Hilliard through neighborhoods that were once home to the Black Panther Movement during the 1960s. Hilliard is presented from multiple perspectives, creating an abstract narrative that challenges assumptions about history as a series of singular events built on objective truths. Central to the exhibition are works that rearticulate Conceptual and Minimalist art practices. Pendleton’s Black Dada paintings, an ongoing body of work the artist began in 2008, recontextualize the phrase “Black Dada” by reframing the letters of each word with cropped images of Sol Lewitt’s Incomplete Open Cube sculptures (1974). Another series, Untitled (water) (2014) appropriates photographs of water surfaces taken by Josef Albers in 1929 to explore ideas about order and disorder. These two bodies of work, like many in Pendleton’s oeuvre, bring together historic forms of avant-garde discourse to prompt reconsiderations of familiar cultural referents. Alongside these works, MOCA is pleased to present Pendleton’s newest work, a third film portrait, JUST BACK FROM LOS ANGELES: A PORTRAIT OF YVONNE RAINER (2016), in the Cohen Gallery. In the film, choreographer, filmmaker, and writer, Yvonne Rainer is in conversation with Pendleton at a diner in Chelsea, New York. At Pendleton’s request she reads a script derived from a wide range of fragmented historic and personal sources, including Rainer’s own writings, a text by Stokely Carmichael, a 1964 Malcolm X speech, and segments from Keeanga-Yamahtta Taylor’s book, From #BlackLivesMatter to Black Liberation (2016). As she reads, contemporary scenes are juxtaposed with an earlier film of Rainer performing her choreographic work, Trio A (1966). Reflecting the sociopolitical imperatives in the work of both artists, this new portrait offers a way to deconstruct the past with the present, blending form with language to articulate ideas about inequality, racism, and violence. Becoming Imperceptible is curated by Andrea Andersson Ph. D., the Helis Foundation Chief Curator of Visual Arts at the Contemporary Arts Center (CAC) New Orleans, and was originated by the CAC. MOCA Cleveland’s presentation of Becoming Imperceptible is organized by Senior Curator Andria Hickey. Generous support for MOCA Cleveland’s presentation of Adam Pendleton: Becoming Imperceptible is provided by Toby Devan Lewis, and The City of Cleveland Cable Television Minority Arts & Education Fund of the Cleveland Foundation. Additional support provided by Pace Gallery. In kind support for the production of Black Lives Matter #3 (wall work) , 2015 is provided by Astek, Inc. All 2017 exhibitions are funded by Leadership Circle gifts from an anonymous donor, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Michelle Shan-Jeschelnig and Richard Jeschelnig, Donna and Stewart Kohl, Toby Devan Lewis, and Scott Mueller. All MOCA Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. About the Artist Adam Pendleton Adam Pendleton (1984, Richmond, CA) lives and works in New York. Pendleton attended the Artspace Independent Study Program in Pietrasanta, Italy (2000-2002). Solo exhibitions include Contemporary Art Center, New Orleans (2016), Museum of Contemporary Art Denver, Colorado (2016), Pace Gallery, New York, New York (2014), Shane Campbell Gallery, Chicago, Illinois (2014), Indianapolis Museum of Contemporary Art, Indiana (2008). Group exhibitions including The Revolution Will Not Be Grey, Aspen Art Museum, Colorado (2016), The Language of Things, Public Art Fund New York, New York (2016), Young, Gifted and Black, Goodman Gallery, Johannesburg, South Africa (2015), Personne et les autres, Belgian Pavilion, 56 th International Art Exhibition, La Biennale di Venizia, Venice, Italy (2015), Radical Presence: Black Performance in Contemporary Art, Walker Art Center, Minneapolis, Minnesota (2014). His work is held in the permanent collections of the Museum of Modern Art, New York; Museum of Contemporary Art, Chicago, IL; The Carnegie Museum of Art, Pittsburgh, PA; and the Studio Museum in Harlem, New York, NY. Installation Images

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Sat. July 25, 2026 EVENT CANCELED: Second Skin In Bondage: at moCa Cleveland Thank you for your interest in Second Skin: In Bondage . Unfortunately, this program has been canceled . We hope to identify a future opportunity for a similar program, and we will keep you apprised as such plans take shape. Please consider joining us on Friday, August 28 for our next season's Free Opening Night Celebration .

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Sat. July 25, 2026 EVENT CANCELED: Second Skin In Bondage: at moCa Cleveland Thank you for your interest in Second Skin: In Bondage . Unfortunately, this program has been canceled . We hope to identify a future opportunity for a similar program, and we will keep you apprised as such plans take shape. Please consider joining us on Friday, August 28 for our next season's Free Opening Night Celebration .

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more 6-9PM Fri. August 28, 2026 Fall 2026 Opening Night Celebration SIGN UP FOR UPDATES at moCa Cleveland Free to all Celebrate Opening Night at moCa Cleveland with four new exhibitions, music, community, and an unforgettable evening of contemporary art. Experience moCa Cleveland's newest exhibition season at our Opening Night Celebration. Spend the evening exploring four extraordinary exhibitions from internationally acclaimed artists whose work challenges the ways we think about identity, technology, memory, the environment, and human connection. Journey through Jody Pinto: Body/Land , the artist's first retrospective celebrating more than five decades of groundbreaking sculpture, public art, and feminist activism; discover Tishan Hsu's visionary works examining the evolving relationship between the human body and technology; step into Rachel Rose's enchanting animated world in Lake Valley , a dreamlike story of imagination, loneliness, and belonging; and immerse yourself in the emotionally rich paintings of Faye Wei Wei , where expressive color and poetic storytelling blur the boundaries between reality and myth. Enjoy an unforgettable evening of contemporary art, conversation, music, and community as we celebrate the opening of a new season together. Whether you're a longtime supporter of moCa or visiting for the first time, Opening Night offers the opportunity to meet fellow art lovers while exploring the exhibitions. Raise a glass, discover inspiring new perspectives, and help us kick off another exciting season of contemporary art in Cleveland. Featuring four new exhibitions: Jody Pinto: Body/Land Tishan Hsu: permeable surface Rachel Rose: Lake Valley Faye Wei Wei: Draw in your head and sleep the long way home.

Date Title One sentence desciption + more Add a Title Add a Title Title + more Add a Title Add a Title Title + more Fri. August 28, 2026 Fall 2026 Opening Night Celebration 6-9PM at moCa Cleveland Free to all SIGN UP FOR UPDATES Celebrate Opening Night at moCa Cleveland with four new exhibitions, music, community, and an unforgettable evening of contemporary art. Experience moCa Cleveland's newest exhibition season at our Opening Night Celebration. Spend the evening exploring four extraordinary exhibitions from internationally acclaimed artists whose work challenges the ways we think about identity, technology, memory, the environment, and human connection. Journey through Jody Pinto: Body/Land , the artist's first retrospective celebrating more than five decades of groundbreaking sculpture, public art, and feminist activism; discover Tishan Hsu's visionary works examining the evolving relationship between the human body and technology; step into Rachel Rose's enchanting animated world in Lake Valley , a dreamlike story of imagination, loneliness, and belonging; and immerse yourself in the emotionally rich paintings of Faye Wei Wei , where expressive color and poetic storytelling blur the boundaries between reality and myth. Enjoy an unforgettable evening of contemporary art, conversation, music, and community as we celebrate the opening of a new season together. Whether you're a longtime supporter of moCa or visiting for the first time, Opening Night offers the opportunity to meet fellow art lovers while exploring the exhibitions. Raise a glass, discover inspiring new perspectives, and help us kick off another exciting season of contemporary art in Cleveland. Featuring four new exhibitions: Jody Pinto: Body/Land Tishan Hsu: permeable surface Rachel Rose: Lake Valley Faye Wei Wei: Draw in your head and sleep the long way home.

Jan 30–Aug 2, 2026 Ohio Now: State of Nature Jan 30–Aug 2, 2026 ∆ John Sabraw, A Spell , 2025. Acrylic and oil with AMD pigments and bituminous coal on canvas, 72 x 144 x 1.5 inches. Image courtesy of the artist. ∆ John Sabraw, A Spell , 2025. Acrylic and oil with AMD pigments and bituminous coal on canvas, 72 x 144 x 1.5 inches. Image courtesy of the artist. ∆ John Sabraw, A Spell , 2025. Acrylic and oil with AMD pigments and bituminous coal on canvas, 72 x 144 x 1.5 inches. Image courtesy of the artist. Jan 30–Aug 2, 2026 Ohio Now: State of Nature Ohio Now: State of Nature brings together artists across Ohio who focus on sustainability, agriculture, food justice, and natural ecologies. Through diverse materials and perspectives, these artists reflect on humanity’s relationship with the environment. Some incorporate found elements like waterway pollutants, plant-based dyes, and grass clippings, while others investigate topics ranging from climate change conspiracies to natural history and arthropods. Many draw directly from personal experiences as farmers, grocery workers, or environmental observers. Spanning painting, sculpture, printmaking, photography, installation, and community-based practice, the works in this exhibition highlight the urgency of environmental issues while inviting dialogue and response. Ohio Now is a new, ongoing exhibition series showcasing newly commissioned and recent work by contemporary artists. This collaboration between CAC and moCa Cleveland connects outstanding artists living and working across the state and engages audiences with the evolving landscape of creative practices in their communities. Following its presentation in Cincinnati, Ohio Now: State of Nature will be on display at moCa Cleveland January 30–August 2, 2026. Participating artists are Catherine Clements (Bowling Green), Avery Mags Duff (Akron), Myles Dunigan (Oberlin), Tina Gutierrez (Cincinnati), Brian Harnetty (Columbus), Desert Kitchen Collective: Glenna Jennings, Jalisa Robinson & Friends (Dayton), Keith Lemley (Ravenna), Celeste Malvar-Stewart (Columbus), Lori Nix & Kathleen Gerber (Cleveland), Elena Osterwalder (Columbus), Praxis Fiber Workshop (Cleveland), John Sabraw (Athens), Charmaine Spencer (Cleveland), Supermrin (Cincinnati), and Amy Youngs (Columbus). Ohio Now : State of Nature is co-organized by the Contemporary Arts Center, Cincinnati, OH and Museum of Contemporary Art Cleveland, Cleveland, OH. The exhibition is curated by Theresa Bembnister, DJ Hellerman, Megan Lykins Reich, and Christina Vassallo. Lead support provided by Margaret Cohen & Kevin Rahilly Installation Images

Jun 2-Sep 17, 2017 Constant as The Sun acerbic (Donald Black Jr., Ali McClain, and Gabriel Gonzalez) Matt Eich Tyree Guyton Institute For New Feeling (Scott Andrew, Agnes Bolt, and Nina Sarnelle) Liz Maugans Danielle Julian Norton Kate Sopko and Angela Beallor Darius Steward Transformazium (Dana Bishop-Root, Leslie Stem, and Ruthie Stringer) Corine Vermeulen Jun 2-Sep 17, 2017 ∆ Matt Eich, Elvis the Zebra , Cumberland, Ohio, 2008, archival pigment print, 16 x 24 inches. Courtesy of the artist. ∆ Matt Eich, Elvis the Zebra , Cumberland, Ohio, 2008, archival pigment print, 16 x 24 inches. Courtesy of the artist. ∆ Matt Eich, Elvis the Zebra , Cumberland, Ohio, 2008, archival pigment print, 16 x 24 inches. Courtesy of the artist. Jun 2-Sep 17, 2017 Constant as The Sun acerbic (Donald Black Jr., Ali McClain, and Gabriel Gonzalez) Matt Eich Tyree Guyton Institute For New Feeling (Scott Andrew, Agnes Bolt, and Nina Sarnelle) Liz Maugans Danielle Julian Norton Kate Sopko and Angela Beallor Darius Steward Transformazium (Dana Bishop-Root, Leslie Stem, and Ruthie Stringer) Corine Vermeulen Constant as the Sun is the third installment in MOCA Cleveland’s series of thematic group exhibitions focusing on artists working in or deeply connected to the region, including artists working in cities in Western Pennsylvania, Western New York, and Eastern Michigan. Presenting ten artists or artist collectives, the exhibition features new and recent work that explores diverse approaches to portraying, building, and connecting community. Previous exhibitions include Realization is Better than Anticipation (2013) and How to Remain Human (2015). MOCA takes an expansive definition of the region as something both psychographic and geographic, as much a state of mind as a site for production. The exhibition title references a line in a 1970 poem by Peter Davies titled "Allison," written in honor of Allison Krause, one of the four unarmed college students killed by National Guardsmen during a Vietnam War protest at Kent State University on May 4, 1970. In relation to the exhibition, the title implies the persistent conditions and considerations—both challenging and inspiring—that drive artistic practice in the region, as well as the enduring significance of art and artists in shaping communities. Constant as the Sun considers the diverse approaches to social art practice that are prevalent among artists in the region. Some artists use traditional media, such as photographers Matt Eich and Corinne Vermeulen and painter Darius Steward, and work closely with individuals and communities over extended periods of time to offer expansive, dimensional views of their lives. Eich redefines an intimate vision of trauma and upholds the dignity of family life in Ohio’s troubled Southeastern rural towns. Similarly Vermeulen’s photographs imply how assumptions about her Detroit neighborhood, a fusion of white, black, and Bengali Muslim residents, are both built and undone. Steward uses his immediate family as subjects and symbols of the physical and figurative weight that urban African American families carry as they move forward in a broken system. Place plays a key role in some of these artists’ socially-conscious works. Over many years, Tyree Guyton has transformed the exterior surfaces and landscape of a long struggling neighborhood in Detroit with everyday objects such as sneakers, stuffed animals, clocks and cars, creating an art mecca known as the Heidelberg Project. Sculptures and reliefs from the project will be shown alongside new prints that turn his signature style inward towards more reflexive, meditative examinations. The three-woman collective, Transformazium have lived in Braddock, PA—a struggling post-industrial city east of Pittsburgh—for over a decade, creating spaces like the Neighborhood Print Shop and projects like the Art Lending Library inside Braddock’s Carnegie Library where they work in an effort to expand art’s relevance in area residents’ lives. At MOCA, Transformazium will create an installation of books, bricks, and beds that explores how individuals relate to one another as learners by creating and sharing collections of ideas. The three-person collective Acerbic are based in Cleveland, where they produce site-specific, research-based projects using photography, writing, video, and sculpture that focus on issues of race, class, education, and culture to underscore and uplift underserved minority communities. For Constant as the Sun , the collective will explore the history and contemporary experience of residents of the “Forgotten Triangle,” a neglected but significant neighborhood in Cleveland. Other artists function as conveners, creating nuanced projects in response to the needs or desires of various communities and then facilitating dialogues, experiences, and opportunities. Following her widely acclaimed film portraits of Clevelanders, The Fixers (2015-2016), Kate Sopko and her collaborator Angela Beallor are creating a faux fall-out shelter inside the MOCA’s Mueller Family Gallery to address and give voice to urban communities that feel “actively threatened” at this moment. Liz Maugans, founder of Cleveland artist spaces and projects including Zygote Press and Rooms to Let, will invite all self-identified artists in Cuyahoga County to submit a self-portrait to be shown as a collective statement that problematizes how artists are currently defined, supported, or excluded. Finally, some artists leverage the in-gallery relationship with the viewer to examine art’s therapeutic potential to link otherwise disconnected beings. Using frameworks of therapy, marketplace, and self-improvement, the three-person collective, Institute for New Feeling, present six designer fragrances and a video that critically and humorously correlate our desire and approaches to health and well-being with the larger forces of technology and the environment. Columbus-based artist Danielle Julian-Norton also applies technology to a familiar but fraught relationship—humans and plants—as a way to consider collaboration anew as a mind-set rather than a momentary strategy. Constant as the Sun looks expansively at what it means for artists to engage communities today, whether through traditional studio work or a responsive, on-the-ground practice. As such, the exhibition is staged throughout the Museum, inside and outside traditional gallery spaces. Artists in Constant as the Sun include: acerbic (Donald Black Jr., Ali McClain, and Gabriel Gonzalez; Cleveland), Matt Eich (Virginia), Tyree Guyton (Detroit), Institute For New Feeling (Scott Andrew, Agnes Bolt, and Nina Sarnelle; Pittsburgh), Liz Maugans (Cleveland), Danielle Julian Norton (Columbus), Kate Sopko and Angela Beallor (Cleveland), Darius Steward (Cleveland), Transformazium (Dana Bishop-Root, Leslie Stem, and Ruthie Stringer; Pittsburgh), and Corine Vermeulen (Detroit). Installation Images

Aug 28, 2026-Mar 7, 2027 Jody Pinto Body/Land Aug 28, 2026-Mar 7, 2027 ∆ Jody Pinto, Well Projects (detail), 1974-76. Earth, found materials. Philadelphia, PA. Courtesy of the artist. ∆ Jody Pinto, Well Projects (detail), 1974-76. Earth, found materials. Philadelphia, PA. Courtesy of the artist. ∆ Jody Pinto, Well Projects (detail), 1974-76. Earth, found materials. Philadelphia, PA. Courtesy of the artist. Aug 28, 2026-Mar 7, 2027 Jody Pinto Body/Land Jody Pinto’s five-decade practice spans sculpture, drawing, ephemeral outdoor installations, landscape interventions, and public art. Emerging during the 1970s Land art movement, Pinto made what she described as “living structures," site-responsive works dependent on weather, visitors, and found materials. As founder of Women Organized Against Rape (WOAR) in 1973, Pinto linked feminist activism with a lifelong commitment to public space. Her concept of “body/land” connects bodily and environmental forms and systems such as veins and irrigation, hair and plant growth, and cycles of injury and healing. Since the 1990s, she has completed more than fifty international public commissions, exploring municipal space as a form of public theater. Jody Pinto: Body/Land , the artist’s first retrospective, traces the scope of this career from her work in rape crisis activism, to early excavations and outdoor constructions, to later landscape and urban design projects. The exhibition restages several major installations and includes her experimentations in drawing, plans for realized and unrealized works, and a new outdoor sculpture presented in partnership with Art Lot in Brooklyn, NY. Body/Land will be accompanied by the publication of Pinto’s first monograph. Exhibition curated by DJ Hellerman, Deputy Director & Senior Curator, and Marie Catalano, Independent Curator. This exhibition is presented through Toby’s Prize, a special commission award made possible by Toby Devan Lewis. Lead support provided by Margaret Cohen & Kevin Rahilly & John P. Murphy Foundation. All exhibitions at moCa supported by About the Artist ∆ Jody Pinto with Fingerspan at the foundry, c. 1986. Image: Wayne Cozzolino. Jody Pinto Jody Pinto (b. 1942, New York, NY) lives and works in New York, NY. Her work was recently featured in Groundswell: Women of Land Art at the Nasher Sculpture Center in Dallas, TX (2023) and in the exhibition Underground at MoMA (2022-2023). Pinto’s work has been included in the Whitney Biennial, the Venice Biennale, and in exhibitions at Artpark, Lewiston, NY; the Institute of Contemporary Art, Philadelphia; the Philadelphia Museum of Art; the Fabric Workshop and Museum in Philadelphia; the New Museum, and the Queens Museum (both in NY). From 1971-74 she founded and directed Women Organized Against Rape (WOAR), the longest operating rape crisis center in Philadelphia, PA. She has collaborated on over 50 public works including for bridges, gardens, parks, and transit systems. She is the recipient of numerous awards and grants for her work, including the NEA Federal Design Achievement Award, A.I.A. Honor Award: National Design for Transportation Award, Art in Public Spaces and two National ASLA Design Honor Awards. Her public works include Fingerspan Bridge (1987) in Fairmont Park, Philadelphia PA, Tree of Life/ City Boundary (1992) at Papago Park, Phoenix, the redesign of Santa Monica State Beach and Palisade Park in Los Angeles (2001), the Fort Lauderdale International Airport (2002), and Land Buoy (2014) in Philadelphia, PA. Pinto received her BFA from Pennsylvania Academy of the Fine Arts (PAFA) and taught there for four decades . Selected Works

Oct 19, 2018-Jan 27, 2019 Alexis Rockman The Great Lakes Cycle Oct 19, 2018-Jan 27, 2019 ∆ Alexis Rockman, Pioneers , 2017, oil and acrylic on wood panel. 72 x 144 inches. Courtesy of the artist and Sperone Westwater, New York. ∆ Alexis Rockman, Pioneers , 2017, oil and acrylic on wood panel. 72 x 144 inches. Courtesy of the artist and Sperone Westwater, New York. ∆ Alexis Rockman, Pioneers , 2017, oil and acrylic on wood panel. 72 x 144 inches. Courtesy of the artist and Sperone Westwater, New York. Oct 19, 2018-Jan 27, 2019 Alexis Rockman The Great Lakes Cycle moCa Cleveland hosts the exhibition, Alexis Rockman: The Great Lakes Cycle . Organized by Grand Rapids Art Museum, the exhibition is Rockman’s most ambitious body of work to date. Rockman, an acclaimed painter and environmental activist, creates ecologically-focused works that seduce and provoke with equal verve. Blending extensive research, diverse techniques, and site-specific materials like sand or soil, Rockman’s paintings document history while also imagining future environments. The exhibition includes five new, mural-sized paintings; a constellation of flora and fauna “field drawings”; and a suite of watercolors that all portray the evolution of the Great Lakes—which are among the world’s most beautiful, economically significant, and ecologically complex regions on the planet. Rockman’s new series celebrates the natural majesty and global importance of the Great Lakes while exploring how they are threatened by factors such as climate change, globalization, invasive species, mass agriculture, and urban sprawl. The exhibition affords MOCA an opportunity to connect relevant contemporary art practice with urgent environmental issues in ways that expand awareness, engagement, and community partnerships. Alexis Rockman: The Great Lakes Cycle is organized by the Grand Rapids Art Museum, with support generously provided by the Wege Foundation, the National Endowment for the Arts, the Frey Foundation, and LaFontsee Galleries and Framing. With major support provided by an anonymous donor. Additional support provided by Angela Westwater, Sperone Westwater. Coordinated at moCa Cleveland by Megan Lykins Reich, Deputy Director. All current exhibitions are funded by The Andy Warhol Foundation for the Visual Arts and Leadership Circle gifts from anonymous donors, Yuval Brisker, Joanne Cohen and Morris Wheeler, Margaret Cohen and Kevin Rahilly, Becky Dunn, Harriet Goldberg, Agnes Gund, Michelle and Richard Jeschelnig, Donna and Stewart Kohl, Jan Lewis, Toby Devan Lewis, and Scott Mueller. All moCa Cleveland exhibitions are supported in part by the residents of Cuyahoga County through a public grant from Cuyahoga Arts & Culture, the Cleveland Foundation, the George Gund Foundation, and the continuing support of the Museum’s Board of Directors, patrons, and members. Sherwin-Williams is the official paint of moCa Cleveland. Installation Images

Jun 27, 2025-Jan 4, 2026 Beverly Semmes The Dresses Jun 27, 2025-Jan 4, 2026 ∆ Beverly Semmes, Rhonda Lavonda Yolanda Chiffonda , 1995. Organza and crushed velvet, 32 feet long (each). ∆ Beverly Semmes, Rhonda Lavonda Yolanda Chiffonda , 1995. Organza and crushed velvet, 32 feet long (each). ∆ Beverly Semmes, Rhonda Lavonda Yolanda Chiffonda , 1995. Organza and crushed velvet, 32 feet long (each). Jun 27, 2025-Jan 4, 2026 Beverly Semmes The Dresses This installation by Beverly Semmes features four monumental dresses crafted from velvet and organza. Suspended on a white wall with a pronounced architectural scale, the sensuous, floating forms evoke both intimacy and grandeur. A formal exploration of pattern, texture, and color, the exaggerated proportions—what Semmes describes as a “perfect size 6,000”—disrupt conventional scales, connecting the viewer's body with the surrounding architecture. At once whimsical and unsettling, the dresses stand in for absent bodies, inviting reflection on the people who might inhabit them and traditional ideals of femininity, identity, and beauty. Since the late 1980s, Beverly Semmes has created work that centers on the tactile and transformative power of materials. While she often works with fabric and clay, her art also includes glass, video, painting, and performance. Semmes combines references to craft, domestic life, and fine art to build a visual language that is both alluring and sharply critical. Her sculptures and installations explore ideas about gender, power, and how women are seen and represented. By playing with scale, texture, and form, she challenges traditional expectations of women’s bodies. Influenced by expressionism, minimalism, and feminist thought, Semmes creates work that is at once abstract and physical, playful and provocative. This installation was originally commissioned by The Progressive Corporation, the Mayfield Village-based corporation. Co-presented with The Progressive Corporation About the Artist ∆ Beverly Semmes. Photo: Ross Collab. Courtesy of the artist and Susan Inglett Gallery, NYC. Beverly Semmes Beverly Semmes (b. 1958) is a multidisciplinary artist whose work incorporates sculpture, painting, drawing, film, photography, and performance. These complementary elements adhere in surprising ways, probing the paradoxes and complexities of the female body and its representation. Based in New York, Semmes has been honored with many solo museum exhibitions, including presentations at the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the ICA Philadelphia; the Henry Art Gallery, University of Washington, Seattle; The Ginza Art Space, Tokyo; and the Museum of Contemporary Art, Chicago. In fall 2025, her alma mater, Tufts University, will present a major solo exhibition at the University Gallery. Recent group exhibitions include Always In Relation: 50 Years of the Gallery at Ezra and Cecile Zilkha Gallery, Wesleyan University, Middletown; The New Village: Ten Years of New York Fashion at Pratt Manhattan Gallery, NYC as well as Witch Hunt at the Hammer Museum, Los Angeles, and the 57th Carnegie International, at the Carnegie Museum, Pittsburgh. Semmes’ work can be found in the permanent collections of the Albright Knox Gallery, Buffalo, the Hammer Museum, Los Angeles, the Hirshhorn Museum and Sculpture Garden, Washington D.C., the Walker Art Center, Minneapolis, the Irish Museum of Modern Art, Dublin, the Nasher Sculpture Center, Dallas, the Museum voor Moderne Kunst, Arnhem, The Netherlands, and the Whitney Museum of American Art, NYC, among others. The artist is represented by Susan Inglett Gallery, NYC. Installation Images